Line 6 POD PRO

First thing! This is an amp modeling tool and should be treated as a tool! Just as you would have to tweak an EQ or digital delay/reverb. You think The Edge simply plugged into his pre-programmed SDD3000 or AMS and busted out Streets or The Unforgettable Fire.

The Pod Pro v1.3 rack mount has a model for just about every popular amp. And yes the pre programmed settings are simply YUK! So turn a knob and tweak it! 36 user editable programs based on 1 thru 9 each having an A,B,C,D sub. The controls are analog! Dialing in a sound you want is very quick and easy no scrolling through menus!!!

Metal, Blues, Overdrive, Clean, Yep. Pod Pro has nice delay, reverb and modulations. It is very easy to get your own sound, crazy distortion or clean acoustic. And the cleans are clean.

Amp and cabinet modeling as well as a live or studio switch. The processing is so clean they even recommend re-amping guitar tracks while mixing down via the re-amping in/out jacks.

Turner and stereo effects loop.

My Pod Pro came with a floor board allowing for full control of the rack unit and expression pedal

Rock, Blues, Warp, Confusion, Loud, Edgy, Garage kind a playin.. Single coil and Humbucker. Have played thru and tried many many Tube, Solid-State and Digital pre-amp on the market. The Pod Pro has made me a believer! I did not want to but no Tubes in my rack! The models are awesome, and no noise at all!!! It sounds great cranked on all settings Metal or Clean. Although some of the stock patches are too punchy and come off very muddy especially with single coil pickups.

The distortion is as brutal as you want it to be!

Simply Awesome, and if you only use basic effects and mainly rock this is probably all you need. I use the pre amp modeling as I don???t really have a need for the effects as my effects are listed below. I have resisted the move to a digital Pre-Amp as long as I could but here I am with no noise.

The delay, reverbs and modulations are really very good and easy to dial in. Again the analog controls make this baby easy to program.

CLEAN POWER Amps are a must as Pod Pro generates all the harmonics you need. If you used colored amplification (distorted) you will have to really work with the Pod to soften its color. I am a Tube purist and Tubes are to only way if you have bottomless pockets, here is the Butt Monkey, Solid-State power is the way to go with this baby.

I do run a Fender Super Twin Reverb w/ purple Jensen???s that is ear bleeding cleaning with monster bottom end because of the (6) 6L6 power tubes. The Rectifier model 9A, well, sounds like Ben Franklin dropped a Mesa Triple right in my garage.

I also run a vintage 80???s Roland JC120 w/ vintage JBL???s that is Solid-State and also ear bleeding clean. Well this is a side by side comparison??? The Jazz Clean 9D, well, yes guess, it is running through one.

If you like Metallica try memory preset 9A/9B you are there.

Built like a tank...

Free upgrade to v1.3 at no cost.

Playin since 1980, I would have to replace it, I love it. Compared the Pod Pro to every pre amp I have ever used, mainly Tube based. The Pod has risen above them and I tried so hard to fight it!! It is really a great guitar pre amp as I do not need its delay, reverb or modulation. I run a 3 amp stereo setup; the Line 6 feeds the effect path via loop where a Korg A3 mixes stereo to hard left/right. Any effect that is not true stereo is doubled.


Here is my setup:
Guitars: American 80???s Charvel, Fender Strat???s/Tele, Gibson Explorer, Custom built 12 string Strat and Martin acoustics.
Effects Setup: (Floor)Boss Volume, Ibanez PUE5 w/Dunlop Wah looped, left to rack right to Ibanez PT5 to Vibratone.
(Rack)from floor to Korg SDD3000 (true bypass), Line 6 Pod Pro, Korg A3 (Pod E Loop), Left/Right - (2)Korg DRV3000, Yamaha FX900, (2)Korg SDD2000, (2)Yamaha D1500, Ibanez SDR1000, Pod E return, Pod Pro out to Alesis Midiverb II.
Amps Setup: (Left)Roland JC120 w/2X12 Vintage JBL. (Right)Fender Super Twin Reverb w/2X12 Purple Label Jensen. (Center)Custom Leslie Tremolo (Vibratone)

Yes I like to goof with effects. I setup the amps left and right turned in @ 30deg with the Vibratone spinning in the middle. The Doppler Effect is awesome because of the frequency cancelation as the rotary fires directly at the Amps.

What I am not going to miss is the Tube dilemma. No more tubes that sound like crap and having to pay crazy cash for NOS ones.

I'm not touring anymore so I ditched my Marshall and was looking for a simple digital/solidstate replacement that I could use in the house without waking the kids up. The amp was everything I wanted it to be, but now it's just going bad on me. Keep reading.

Again this thing sounded great, the effects were okay and a few of the simulated amps were really nice, especially the l6 crunch and the plexi emulator. I was very happy with the sound until it started falling apart.

I don't know what's wrong with my Pod Pro. I bought the amp used, it worked perfect when I got it. First the FX loop crapped out, just stopped working cold, no warnings nothing. Next the guitar input on the face of the amp started sounding distorted and weird. I just flipped my guitar to send a line level signal and sent it to the line level input at the back of the amp, I thought that solved the problem. I was still bummed out that the guitar input and the FX Loop where dead but at least I thought the amp was salvagable. Now last week the digital delay just stopped working. When I put it on Digital Delay it just makes a scratchy sound while I'm playing and no delay. Then yesterday all the rest of the fx started sounding the same way. No trem, no chorus, all of them sounded horrible and screechy, sort of like really bad digital cliiping plus nails on a chalk board and no effects. Today the distortion is sounding messed up too and so I switched to the clean channel and was playing on that for about an hour using a ProCo Rat for distortion and guess what? That just crapped out too so I guess that's the end of my Pod. Well I've had it for almost a year now and practice about two hours a day but I didn't expect it to wear out that fast. Seriously, I have a little Gretsch Artist practice amp made in 1948 and it still plays great but this pod isn't that old why is it going sour so soon?

Yes I have it on a surge protector, no I'm not doing anything stupid to it like running power amps into the guitar input or taking ot apart with power tools. I'm just plugging a stratocaster into a rat pedal into som rack mounted reverbs and than right to the amp, that's it.

Their okay, nice people to talk at but they aren't fixing anything so what does it matter.

Last time I buy anything from Line 6. Very disappointed with this product. I don't tour anymore and I have this thing sitting stationary in a nice rack and it's basically tuned into a paper weight on me.

This review is for the POD Pro with the V1.3 chip. I've had this unit for several years...probably 5 years...and I also bought the Line6 Floor Board with it. I did it out of curiosity because I wanted to see how a modeling amp worked. I also bought a little Mesa Boogie Dyan Watt 20/20 power amp (stereo, 2xEL84s a side) and have a THD 2x12 cabinet that I use with other heads in my arsenal - Bassman, Marshall 50 watt, etc. With the original v1.1 chip, I didn't like it. It would record some rhythm parts to tape nicely with the speaker emulation, but anything else had a buzzy digital sound to it - especially when you had an overdrive patch. Reverbs weren't very good, chorus was barely "OK", other effects were tolerable - compression, rotary, chorus, flange. My opinion has changed more positively with version 1.3.
The POD Pro also has some nice real time performance controls which make it suitable for a live setting. YOu can tweak the tome controls, bump up the drive control, controlthe reverb mix, etc wasily in real time. It has an XLR out that you can run to the board (which I never do), has MIDI in/out which I use extensively to edit patches from my laptop using a free downloadable Line6 utility. That works nicely.
There are no phaser effects. Why?

I play a variety of styles - but I don't do anything that has a heavy distortion to it. Mostly classic rock and R&B, blues, etc. My other amps are high qaulity tube amps - Matchless, Victoria, Carr, Fender Deluxe Reverb, 1965 Fender Pro Reverb, Cage, Dr Z, Marshall. Yes I love amps...yes I do.
But with the V1.3 chip, it actually sounds like a pretty good amp - especially coupled with the Mesa Dyna Watt and the THD cabinet. Now, you have to work to get the sound you want so that it will react dynamically to your playing in a live situation. But by golly, it actually works.
The effects didn't improve much with the v1.3 upgrade. The spring reverb is just not good. The rotary sound has improved with v1.3, however. But the distorions are much improved. I usually add a little drive to it, the distortion is not that over-the-top metal distortion. It actually is pretty good. You can roll your guitar volume back and although it is not as dynamic as a good tube amp, it does a pretty good job. Better than most solid state amps, I would say.
I play mostly single coil guitars - Tom Andersons, Fender, etc.
There is a good variety of amp sounds. I have nice models of a Fender Deluxe, a Marshall JTM45, a Vox AC30 Top Boost. They sound pretty good. It's nice in a live situation to bounce between certain amp types - which is where this device shines. The cabinet emulations aren't great. But the POD Pro gives you the option of disabling cabinet sounds if you need to.

It seems to be built well. I've not pushed it too much, but if you put it in a nice rack case and plug the power into a good Furman Power conditioner, it should last a while. I've seen some build-quality complaints about newer Line6 gear, but the POD Pro has a nice metal chassis that seems solid.

My one dealing with customer support was very positive. It was to get the V1.1 to V1.3 upgrade chip. No hassle. It was free. It arrived in about a week. Very friendly people. Probably better customer support than most.

POD Pro v1.3 improved the sound and features of POD Pro. Even the sample tones that come out of the box with v1.3 were more geared towards tube amp variety - as opposed to over the top compressed fuzzed out distorted sounds that were with v1.1. That's nice because it gives you a good launching point to tweak your own tones.
It would be nice if it had a USB or ethernet port, but I'm sure newer models now have that. I'd say this compares favorably to other modeling pre amps. If I had to have only one guitar amp, this wouldn't be it. It does a variety of amp sounds with decent quality. It's not like a good tube amp, however. I may replace it if lost or stolen...but I'm not sure. It takes me a while to form an opinion. Let me gig with it for 10 more jobs, and I may have a better opinion.

I got my PODpro in '04. Let's just say it has lots of different tones available. I like the tone of the line6 units when recording direct but felt it lacking something in the power section so I decided to get a Line6 preamp to run with a real tube power amp. I agree that 36 memory banks is pretty funny, considering the processing power available today.

I must admit that I don't have much use for most of the tones available
from the PODpro. Not because they sound bad but because I only need a hand full of them. My main tone comes from the "Modern Hi-Gain 1", the Soldano preamp patch NOT the SLO patch. I use the "Roland JC-120" patch for my cleans and I use the Line6 "Layer" patch when I want to blend a clean and dirty tone together. This is a patch that I fell in love with on my Line6 Flextone HD head and was happy to see in the PODpro. My only
complaint is that all the presets seem to have a mid-scoop which I hate even though I'm a Metal guitarist. I actually boost my mids and I now use a DBX 131 graphic EQ to turn my mids up around 800HZ. This unit is my secret weapon in making the PODpro sound like the end of the world. I use a Mesa Recto 2:100 power amp in the "Modern" switch engaged and it kills all the boutique amps I A/B'd it to.

I had a problem with the output of the PODpro where the volume was going in and out, so I took it back and the unit was replaced with the last one they had. All they had then were the PODxt units which I didn't like. When I played through the unit, it's tone was way better than the original one which led me to believe there was something else wrong with the first unit besides the output stage and since I didn't have anything to compare it to, didn't realize it.

Never dealt with them directly.

When used with a good graphic EQ and a great tube power amp like the Mesa 2:100, this makes for the finest Metal rig in existence.
Haven't heard anything better and I've heard everything from Diezel amps
Engl amps, VHT, Mesa, Peavey, Krank, Carvin etc. and my rig with the PODpro sounded much better without that saggy, spongy effect that I hate from most all-tube amps.

I know absolutly nothing about when the POD Pro was made but I can definitely say that I met someone who owned it and uses it to record as well as live gigs. Their music has been broadcasted on the MTV network as well as soundtracks. I believe it was one of those horrible reality shows that everyone is obsessed with. honestly, what the hell?
I wish the POD Pro had a teleporting feature without any type of identity mechanism so that I could make one appear right in front of me on my computer desk for which I would then plug my guitar into and connect a few patch cables, experiment with the sound settings and continue writing and recording the great music that I enjoy listening to. I love music aside from not being able to appreciate many other people's style, ability, effort, creativity, or genre, etc.... I need not say more for I find human communication borish and lacking a certain value of entertainment quality much desired by me.
I like creating a wide-spread stereo depth, plunging my axe right between those lucious waves of ecstacy and shredding with precision.
oh, and I do so while recording in private settings as well as public.

The POD Pro sounds exactly how I make it sound.
I control the combinations. I control the volumes. I control the compensation ratio for volume/distortion irritants. I am the man.
And now on a more personal note:
"Anyone who lacks the ability to create should NOT be allowed to call themselves a musician. If there were a penalty for ignorance and idiocy perhaps the majority would think twice."
POD Pro RAWKS baby!!! woooooooo!!!!!!!!
*cough*

I'm still waiting for the teleportation mechanism to trigger this beautiful machine into my hands.
I cross my fingers right...............NOW

Every moron thinks they're a professional and I laugh.
The ONLY (and I stress) ONLY reason anyone should or would need customer support is if they LOST the manual or they were just too lazy to read it.
Get real people.

I've never played through a POD Pro. I have no rating for this product.
I'd LOVE to own one and I am currently in the market for such a thing.
I'm interested in the POD XT Pro but I was recently introduced to a mint condition POD Pro for under 1/2 the price.
My only question so far is if I'm able to add plug-ins or "patches" to the POD Pro like I've read about for the POD XT Pro.
Overall I love this thing unconditionally as if it were my own child you silly grunt mongers.

Just purchased Pod Pro 2.0... had regular Pod and 2.0 upgrade prior. Preferred the rack set up with pedal. just easier to use. Did not buy to use primarialy sa modeler or effects... but rather for a little of each as needed and not need to have a bunch of pedals all around.... though I still use a few because you cannot combine more than 2 effects and only certain ones. But that said it has enough to please me for recording and gigging. Using with a marshall FCM100 head and 4-12 Marshall bottom... sometimes with Fender Ultimate chorus... both amps have excellent clean channels so it can be used more to it's potential.

Primarily Classic Rock and new age rock

good so far... prior POd lasted with zero probelms and resold for 74% what I paid after 2 years,,... not bad!

To expect an amp modeler to work in every amp and truly recreate a particular amp or cabinet is just plain stupid.... add chocolate to milk you get one thing... add it to beer you get something completely different.... your amp dtermines how well anything can sound through it and what the flavoring will do to it. I happen to really like it the way it works with the Marshall and with the fender. My POD 2.o suckeds through my Tube Peavy Classic 50 head w/ Peavy 4-10 bottom... just sucked.. but that was the amp... not the pod.. pod was fine in other amps.. the peavey amp on it's own was great so it's not because the amp was bad... just not a good combo.. I love the POD PRO

Let me begin by saying that this is definately not a 1 trick pony. I have played guitar for over 20 years in hard rock/metal bands and this is a great versatile unit though it does have its drawbacks. I will explain. Control surfaces are intuitive and easy to use. The fact that they mimick the simulated amplifiers in tonal sweep is great. (some of the featured amps never had mid controls like a Vox AC/30 but allow you to add a mid boost or cut because the mid knob is there. Channel switching is seamless and effect carryover is also nice. Total control is achieved with the 300 floorboard though I own the $75 FB-4 model which is a scaled down version for basic control of 4 presets within a particular bank.
I currently am using a solid state (YOU HEARD RIGHT) Crown Microtech PA amplifier with an Avatar 2-12 open back cabinet with (1)Vintage 30 / and (1) G12H speaker. I have also used a Mesa 20/20 dyna AND a Simul-Class Two Ninety in a traditional guitar rack set-up. I have also used this rig with a Gibson/Norlin Lab series L5 combo amp with the live /studio switch set to studio. (no cabinet simulation or mic AIR properties). The mesa's or any other tube amplifier for that matter are strange with respect to the extra coloring of the guitar tone. If you are going to use this unit the way the manual tells you to, do it with a PA type amplifier and boy will you see what everyone is talking about in prior reviews. It is best to use this preamp live with no cabinet simulation if you insist on a Tube type amplifier of your liking like my 2/90 or similar. This thing sounds absolutely monsterous through headphones or a recording console though. splendid.

I generally use a PRS custon 22 birds as my main axe, though I also use a Zion Ty Tabor signature model strat fasioned after the Fender Strat elite switching system of the 80's with the Joe Barden single coil pickups. These pickups are truely the cleanest sounding units of modern time. The bring out the best AND worst playing. They are very unforgiving when you make mistakes. A drawback if you are a crappy player. The POD PRO is a great friend if you need that versatiity factor. It is very quiet, especially with the noise gate built in. With 32 amps and 32 effects theres enough to keep you busy though a lot of the presets are a little too busy, they are a great starting point for your custom tones. They group effects or reverbs commonly found with that particular amp model to help showcase its sound. Nice. In a nutshell this unit can growl with the best of them and go until the cows come home and then some, or be meek as a kitten when necessary. I will say this though, there is still and never will be a perfect match for any of the amplifiers they emulate though they come sort of close in a lot of attempts. You must have real good ears to really get what you are after.

I have had only one problem with the POD PRO which turned out to be such a simple but aggrivating problem. The unit would re-boot onstage in the middle of high level performance! Yikes !! The problem turned out to be a simple fuse holder that was a little loose and allowed the unit to lose power by vibration long enough to turn it off and back on real fast. BUMMER. The good thing was I found the problem after bringing it to a so-called CERTIFIED line 6 repair center. The jerk-job who was the tech said he could not reproduce the problem I was having. I embarrased this guy severely buy simply playing a chord and lightly, yes LIGHTLY tapping the top of the POD, and 'zip' it turned off and on. The boobs eyes got wide as saucers as I whipped it off his bench and brought it home determined to fix it myself. Which turned out to be a simple clip on the main fuse. Thus proving that this 'tech' never really looked at it in the first place, and costed me 2 weeks worth of rentals on a floor model. DOH!!! It has not faulted since that day and after 6 years of touring in a rack, being stored in a cold garage and fired up on weekend warrior excursions. Basically being treated like the red headed stepchild she is. So reliability is a solid 8

Dont bother, they are nice to you but they didnt help me in the least, see above comment. posers..

I own 2 Gibson Lab Series L5's, A Marshall JCM800, Matchless Chieftain, Buddah Twinmaster, Peavey 5150 combo, a Fender princeton and a 52 Fender Deluxe, these are the real things, the POD comes sort of close to the ones they simulate but with a lot less back ache so it makes it worth the sacrifice. I like 8's so it gets an 8.
King's X rules!!

hey i need to say this because everyone is not realizing something those individuals running this with a guitar power amp are the ones have the bad sound your not suppose to run it with a guitar power amp it has color to it you want to run it with a power amp with out color. that is why the sound is weak and odd but sounds great through head phones. try running it with a crown solid state power amp or something it will be great then.

Bought it used in early 2003. POD PRO. Already had the old POD 1.0.
Very versatile. Already covered in other reviews.
Used it with a Digitech MiDi controller.
A lot of tweaking possible. Nicest feature: on-the-fly cabinet emulator selection.

I used POD PRO as a preamp+FX unit for a Mesa 20/20 (EL-84) poweramp.
Guitars: Epiphone Slash Signature w/ Duncan Jeff Beck (bridge); Jackson Soloist w/ Duncan SH-8 (bridge) + 2 custom handwired strat single coil pickups (neck & middle).
Mostly play hard rock, rock, blues, R'n'B.
Overall nice sound, but with some major issues.
It sounds AWESOME driving a Brunetti Silver Bullet all-tube poweramp.
It sounds weak with the Mesa one; after about 2 years I just sold it for my VH100R.
IMHO POD lacks dynamics; yes, fair for recording, but tones just aren't "alive". It might be as well a guitar synth.
And this is sad, because no preamp should sound this bad, connected to a Mesa poweramp.
I'd say: good for beginners or as a recording tool; just don't expect to sound like a SLO live.
Just don't understand if one of the above reviewer, speaking about SLO, Mesa Mark IV and so on, ever played through a real tube amp.
Any owner of a SLO or JCM800 will tell you the difference between this and the original. And it's a BIG BIG difference in tone & response.

Excellent.

IMO, it is much better to have one or two REAL GOOD sounds, even without FX, rather than thousands of crappy and mediocre sound combinations.
But, if you just cant wait to have some preamp-fx-recording multi-purpose rack unit, sacrificing sound quality for some "versatility", then it might be for you.

The features have been covered enough already. Most of the effects are OK but nothing to brag about. Gives me some really loud pops when switching between settings. I bought the floor board ($300 extra to make it usable on stage) to go with it as well because I thought I would use it on stage but it will never happen....

I bought it after listening to it through headphones, like a fool. The unit sounds OK through a PA set up but sounds like crap with my Mesa Boogie TriAxis and 2:90 power amp. I play an ESP KH with active EMG 81's. A few of the amp simulators sound good but not much like the real thing I have found.

The midi quit working on the unit after a couple of months of fighting with it to get some good tone out of it.

I haven't bothered getting repaired because it is junk in my humble opinion. I have contacted support a couple of times with other issues I had with the software and they were polite but not very helpful.

This unit is fine. If all you want to do is play through headphones! It has been sitting out of my rack for a long time now and has become a very expensive paper weight. It will be sold on ebay or at a local pawn shop very soon. Unless somebody on hear wants to buy it!

EASY to get amazing sound
editing is not easy
manual is good

You definately need to buy the best floorboard and that is about $300 if I remember correctly

Strat and Les Paul
No noise
Always sound great
all effects are great

I can depend on it.
Too expensive to buy another for backup

Telephone support is great
web support is horrendous

I play tastey music
Ive been playing forever
I would buy another if it was stolen. I would never loose it
POD XT Pro Version 2

There should be Blank banks at the beginning 1-64 for storing new user created banks so that you can keep the original presets (unchangeable) in banks 65 through 70 (which don't currently exist). I still believe in POD and when Line 6 makes the unit like I have described (and I believe they will someday) I will replace my POD Pro unit. No Question.
Why oh WHY did you do away with the
*Dumble Overdrive Special Drive?!?!?!?

Hopefully you will keep the:
*1989 Soldano SLO Super Lead Overdrive***
*Modern Class A ? modeled after 1996 Matchless Chieftain,
*Line 6 Clean with Compression,
*line 6 Twang, with Slapback Echo?modeled after Fender Deluxe meets Bassman
*1995 Mesa Boogie Dual Rectifier Head
*Mesa Boogie Mark IIC+ Drive Channel,
*Line 6 Crunch #2 with Room Reverb ? modeled after Plexi + more tone range.
I dont think I can live without them anymore!
If anyone has input about this item and can give me some feedback on my issues please feel free to email...please do!

Line 6 Should give you the 36 (or whatever it is now) Factory presets Channels that can NEVER change as banks 37-72 and then repeat these "presets" as user changeable channels 1 through 36 where you can change and tweak the sounds...shuffle the order around do whatever, without worrying about loosing the 37 through 72 bank factory presents. Yes there is a reset button for complete factory reset (Who the F#*k wants to do that?!?) The way it is designed, in order to shuffle banks around to your liking,you HAVE to sacrifice one of the presets. Line 6, please check out how Digitech did it with their GSP21 and pro units. The layout is much better, much more user friendly. Only thing is the POD Sounds WAAAAAY better.
I want to move on knowing the original is still in one of the 37 -72 factory presets.
With the POD XT: can you line up any of the Stomp boxes on Any of the amp models at any time or are you restricted to what is ?preset? for that particular amp like in POD Pro?
I want to buy a new PODXT Rack unit but these issues are addressed but PLEASE bring back the Dumble Overdrive Special Drive!!!! And leave these:
*1989 Soldano SLO Super Lead Overdrive***
*Modern Class A ? modeled after 1996 Matchless Chieftain,
*Line 6 Clean with Compression,
*line 6 Twang, with Slapback Echo?modeled after Fender Deluxe meets Bassman
*1995 Mesa Boogie Dual Rectifier Head
*Mesa Boogie Mark IIC+ Drive Channel,
*Line 6 Crunch #2 with Room Reverb ? modeled after Plexi + more tone range.

POD is definitely the best by FAR.

Seaside Jimmy

Amazing! I cant begin to describe how handy this thing is, Its not alot of money for the things you can do with it. The effects are lacking a little though.

Well, I hated it when I first got it, I didnt have the time to sit down and work it out. Once I did, it was a whole different ball park!
I use the Recto, JCM 800, AC-30, Insane, tweed, well, all of them really. I use a 62 strat and a les paul through a JCM 2000 DSL 100, with a 1960A and an original 1968 4x12 with 20watt green backs, the POD is infromt of the amp. No shit, it is amazing! No noise, just tone, I dont know why people say they sound like shit. Personal taste maybe. I myself cant afford all those amps or even 2 of them. Wake up. This is the new way of getting tone!

Ive had it 6 months and its never fucked up on me

Ive been playing along time and gone through many different styles, this thing can keep up with you as you change. Its good for when you change guitars mid-set coz you dont need to change settings, just patches. You dont need to crank it to get a good sound either.
The question everyone asks me is always the same, "does it sound like the real thing?" NO! it doesnt, but when the band is going off you lose a certain quality of sound anyway, I have never seen half of the amps in real life anyway. If you are working in the studio, its alot easier technically and physically too. Time to stop being tube snobs I think!!!!!

I bought this amp recently only because I ws under the impression that I could plug it into my power amp and it would sound heavy as hell. I was wrong. I was going into a Mesa Boogie 2:90 power amp and a Marshall 1960a cab. The POD was ment to be used with uncolored power amps and cabs. The factory presets are ok, some suck ass, some rule. If you have the patience to work with the POD and have a good PA power amp and a Line6 Cab or a PA cab it sounds amazing. Better then any other amp I have played. It is indeed for the tone bitchy guitarist like myself, if you can't find the amp you are looking for something to get that special tone you are looking for. Then this is the amp, but beware, you are gonna have to invest in PA type power amps and speakers, unless you like the sound of your current power amp and cab.

I use an Ibanez RG7620 tuned a half step down and a custom made ESP tuned to F Bb Eb Ab Db Fb Bb. All in all I wouldn't trade this amp for anything. It is capable of playing any type of music possible, your imagination is the limit. There is a lot of variety in the amp sounds. Some people complain how the sounds are fake. But as I said before you can't sue coloring equipment to power your sound. I used to have a Dual Rectifier and this sounds exactly like it, sustains better to. The clean channel you really have to work with. Some people like there REALLY REALLY clean almost like an acoustic, just add some chorus and compressor to it it sounds dead on. But i like mine with a tiny amount of gain. It can do cleans and distortion sounds well you just have to work with them and have patience.

I would recommend that if you are using a POD for direct recording get the XT or the XT Pro. Though this one sounds good you can get more out of the XT. I use this live and I just mic my cab when I record.

The only one problem I did have with it is on my old Mesa Boogie, and 5150 2, I didn't have the pinch harmonix problem. It is just a matter of re-finding the sweet spot on your guitar. I have noticed this problem occurs more on my B.C. Rich Warlock with EMG 81s. But I just re-found the hot spot for the harmonix and it works again. SO no worries.

I have only had it for about 5 months now, It hasn't broken down or anything. I haven't gigged with it yet but am looking forward to it.
I haven't broken any knobs or any of the switches. It is like any piece of equipment, the more you take care of it the more reliable it is.

The really shitty thing about it isthis is the little delay between patch switching. For me it is a real pain in the ass. But I have a Morley ABY switch so I wam just gonna buy another one and put it in my rack.

I have only dealt with thier customer support and they wre kind of stupid. They couldn't answer any of my questions. Since it was just the person I talked to I will give them a 5.

I have played guitar for about 11 years now and I have the worst trouble trying to get a nice tight tone on any other amp. This one does it, but like I said be ready to invest in PA equipment to run it. If it were stolen I would definately buy another one. I love that I can make my own amp tones on it. I compared it to the Behringer V-Amp pro thingy and since this one is Industry standard I figured I would get this one. The only thing I wish it did have was a better editing program. I had to download the one from line6.com. I would say buy this if you want to creat your own tone. Your own custom tone... IT is a great model for someone with patience. It has some killer distortion, killer effects, killer clean sounds. Everything you want but you ABSOLUTELY HAVE to know how to use it. The manual doesn't tell you shit. You have to have good tone ears.

This unit really rocks. I am very impressed with the overall sound quality. Having only paid #199 for this unit though Sound Control, I really can't fault it.

I'm suing this mainly in my studio running the unit directly into a Motu 2408 MK3 for DI recording. I have used both a semi accoustic guitar a Gibson Electric through this unit using the AMP Farm (hardware) effect i.e. processed guitar recorded clean. Which has given me loads of options at mix down stage regarding getting the right cap sound ect. Very impressive.

No problems at-all. Just check out the price. #199. It was almost a gift. Rock solid build.

Never used them. However, I understand that this unit will soon be discontinued. Pity. Hope the support online doesn't dry up.

Overall I have to say that this was an excellant buy. Remember that you will have to download the latest software version from line 6 to swap sounds etc. Pity Line 6 have taken the decision to discontinue this unit moving on the the XT version. Having tried both. I really can't tell the difference appart from the obvious LCD screen and more buttons. Anyone got an opinion on this?

The main feature that makes this thing better than the POD is 24 bit conversion rate (vs. the POD's 20 bit), and more output options. All the other features should be obvious to anyone interested in this thing.

Unfortunately I have to make this review quick. It would take a long time to do an in-depth review of every amp model on this thing.

I use the POD pro for metal sounds. I use mostly the Insane and clean settings. I know that sounds bad, but honestly the Insane setting is the only one with enough distortion for me. I don't run it full out, only about 6 or 7. Other amp models just don't have enough crunch or buzz for me when I'm going for a massive Fear Factory-type tone (which is odd, because I've heard Dino used the Rectifier settings..then again, he had a Mesa power amp to help). The gain boost (simulates a distortion pedal set Gain 0, Level 10 to overdrive a tad) just doesn't sound that good. It adds a transistor distortion type sound that I don't like.

Okay, this thing obviously doesn't sound like a real tube amp, but its a lot more convenient. You don't have to play at massive volumes to get a good sound, you can have dozens of setting saved (which, even if you stick to one or two amp models, you can have a lot of variety).

THIS IS IMPORTANT!!! I run the POD pro in front of my amp. I use a Marshall 80 watt solid state combo amp. I originally had the Marshall preamp tone controls even at 5 for treble, mids and bass. I didn't really like the sound, and I was getting really disappointed that I spent so much money on the thing. But I reread the owner's manual before just trying to sell it, and I discovered something odd. Flat EQ for most amps is Treble 0, Mids 10, Bass 0. This seems counter-intuitive, but I tried it anyway, and what an amazing difference. This is what its supposed to sound like.

Also important! I turn off the cabinet simulation. It might sound better for recording or direct to a PA, but I run the Pod pro into a combo amp, and that colors the sound enough without cab modeling. Plus, its one more option you'd have to worry about, and there are already enough options on this. I also have the live/studio switch set to studio. The manual mentions that this sometimes sounds better for combo amps.

I really can't comment on most of the amp models because I'm trying to relearn the POD a little at a time. I'm writing metal songs at home, so I'm just using Insane and a few different cleans. The Insane has very sensitive Treble and Bass controls. The mids aren't that sensitive, because I think its already a pretty scooped mid type sound. I keep everything at about 5, with minor treble adjustments for a brighter or darker tone. Lower gain sounds like Metallica, more gain sounds like modern obscene distortion. Scooping the mids and adding the distortion boost makes it sound like Dimebag Darrel trendkill-era.

The effects aren't anything spectacular. The chorus and flanger have that hollow sound. It could really use a mix control for most of the effects. I love Zakk Wylde, and I can't get a good chorus sound out of this to sound like him. The delays are really cool though. The wah (from the footboard) sounds like a Vox--I prefer the sweep range on a Crybaby, so I don't use the wah too much.

Basically, this thing can't nail real tube tone, but who cares? Lots of people use solid state or distortion pedals, its just a matter of personal taste. I prefer versatility over one perfect sound, because the truth is there is no perfect sound. With this thing you could pick one or two amp models and save settings for every song you do. If you prefer a simpler setup, go with that.

As always, try it out before you buy! I shouldn't really be talking because I bought a POD pro off of ebay, but at least I played a Flextone in a music store to check out the models (its the same software).

No problems yet, but I've heard horror stories, and the fact that's its digital is a little scary. Then again, its better than having 36 different tube amps.

Again, I've heard Line6 sucks in this area, but I've never had to contact them. You can download a manual off their website (a great way to check out the features before you buy).

I've been playing for 6 years. I've had a ehx Big Muff for a few years, which is cool for vintage fuzz, but I also love heavy metal, and this is good for that.

The biggest problem I have with this thing is setup time. I run it into a combo amp, so I have to just set the Pod pro on top of the combo and hook up a lot of cables. Pedals are just easier sometimes. I'll get a small rack soon, so that'll make things easier.

The Pod pro sounds very close to the Flextone II amps, better than the Spider amps. Those are the only other modeling amps I checked out. It definitely sounds better than any solid state distortion I've heard.

One final thing--current modeling amps may not be perfect, but they'll get better in years to come. Getting into modeling now is like getting a jump on the future of guitar technology. Tube amps aren't going anywhere, but modeling will only grow.

Bought new around 2000. Many features. See other listings that have already covered the features. How many of the features are usable? Now that is the question with this thing. Lets rate this a solid 2 and I will explain more as we go on.

Use a strat and les paul. Mostly classic rock. This is a hyped up piece of junk. Yes it has many amp models and many connections. All but a couple of the models sound like crap! They sound NOTHING like a real plexi or a real blackface Fender. Bring a real plexi with you when you go to try one of these out and you won't buy this junk. It is buzy and toneless and that is when it is working!!

This worked for about a week but I couldn't stand the sounds. It sat there for a couple of years until I decided to give it a second chance but it developed a problem while it was resting and now only works once in a while. PURE JUNK!

HA< HA< HA. That is the best joke I have heard today!

Crap with candy apple red paint on it! I would never buy anything by Line 6 again. Buy a small good quality tube amp and a couple of pedals and you will be much better off. I hope someone steals it! I don't really feel right about selling something this bad to someone.

The only feature I wish this amp had was the ability to play 2 amps at once like the vetta, and dual inputs w/ an acoustic model for piezo systems and acoustic guitars.

I play everything really, but mainly heavier anymore. The reason I got this unit is because I knew some professional buddies of mine were using them and I loved their sound and have played their rigs. I went to the store ran it through a tube power amp and switched between it and a rectifier. The POD PRO sustained longer and didn't have the head noise. SOLD

This thing will take a beating and lives on. If you had tubes and dropped your amp you're out of luck and broke on the wallet. I had mine drop and the digital synch snapped (which you don't use anyway) line 6 just sent me one out the next day.

Customer support is A plus, they send you the parts you need and upgrades next day and usually charge nothing or very little. They also respond via email within 48 hours so you don't have to sit on hold or pay long distance, or wait forever like some other companies.

I"ve been playing for 11years and I would for sure get another one or beat down whoever stole mine and take it back. I love the sound and flexability of the amp. I choose the line 6 because it's the only modeling amp that counts out there Johnson's sound like garbage and the new XT series don't sound reall, plus they are muddy sounding. People are fooled into buying them cause there's more effects but don't buy into it. The big Line 6 endorsee's use the original POD PRO, the HD147, or the Vetta I/II.

A lot of Death Metal Bands use them for the Insane mode such as mortician, but they use crown solid state poweramps.
Bands such as fear Factory and Deftones use Mesa Boogie simul 290 power amps or Marshall tsl poweramps to give it a nice tube tone. The Mesa is by far the superior one giving you an amazing warm tone where as the TSL is thin sounding.

Don't listen to the peopel complaining it doesn't sound right cause they are wrong. When you get a tube amp for the sound it comes from the power section. That's why you run tube poweramps on the unit and get incredible live sound.

Digital Modeler, Claims it has it all, but it doesn't really, s/pdif, AES/EBU,stereo XLR, and Phono balanced/unbalanced I/O, many Knobs and buttons. I got this in 2001.

I use a Stock Ibanez S470. I play Original Heavy Rock, with lots of variety from anywhere from metallica to foofighters. As for the sound quality i feel after trying and trying to make it sound right, that it sucks. Its a glorified guitar tuner now. When i got it, all i had experienced before was owning a 2x10 solid state Fender Princeton stereo chorus. I was disapointed that i couldn't get heavy metal or good distortion sounds out of that, and i wanted to start making home recordings... So off to the music shop i went to get conned.

Being told you'll have a library of many vintage amps, rectifiers, and marshalls, is very enticing, and not having heard those amps before, i took a listen to the settings with no reference to the originals and decided that they were pretty good...well pretty good isn't nearly good enough, and now i know what the real things sound like, and side by side this thing doesn't even rank.

I recorded a bunch of stuff with this junk direct, and never could understand why my recordings didn't sound like the guitars off of my favorite albums... Try and Tweak and try as i might....Now i know why.

Since then i've grown up, i still try to keep things inexpensive (I can't just go and buy Mesa/Boogie Rectifiers) I have a Peavey XXX head and 4x12 cabinet now, and i mic my amp in recording situations, and guess what it sounds great, just like the albums!! I even mic my princeton with great results! I even came across and restored an old unbranded tube amp 2x12 combo that sounds similar to what the pod says sounds like an AC30, and its really awesome, the line 6 version of the AC30 doesn't even compete, and it only cost me $60 off of some guy. Bottom line is buy 3 good amplifiers and you're set for most of what you want to do as an aspiring musician or an armchair warior with a weekend coverband.

Here is the only usefull tip i have about the unit. Take off the Cabinet emulation, it makes everything sound like mud...mud covered #$@%. The best you can do with this is take of the cabinet emulation and either run it in direct, or run it through your real amplifier with A.I.R. turned off. Mic it and well thats as good as you can do... It still sucks.

Mostly i've been talking about the distortion sounds above, While the vintage tube tones are not much better, they are at least more convincing and possibly usefull in a recording situation. The FX are pretty decent, no real complaints there.

I'm not going to sell mine...for 2 reasons. First as an everpresent reminder of my mistake,and the 3 years wasted with it, and second, because its crapiness may become usefull in a recording situation sometime in the future, as a production element of crappy sounding guitars...

Take what you want out of that, best bet is to do an A/B comparison to a real amp and let your ears judge. Could be usefull for you just wasn't for me, the way i intended it...All i wanted was 1 good heavy sound, not 40 half decent and crapy ones.

Seems pretty reliable... who knows no problems yet, one note though, I have the FBV floor board, and one of the switches malfunctioned and wouldn't switch, i ended up fixing it my self by screwing in a loose screw... who knows.

Some times they respond sometimes they do not, by email of course.

It just isn't there yet, Line 6 keeps coming closer and closer to achieving their aim in terms of digital modeling, and i believe that one day they will do it. In the meantime however stay away, don't be pulled in... you don't need 70 amplifiers you need 3 or 4, a solid state amplifier like a princeton, or a roland; a tube amp (you can get a good sounding one for 400-600$, like a traynor, or pay more acordingly), and a good high gain tube amplifier, a Peavy XXX, or a 5150 II is a good place to start. Of course you could go and buy a Fender Bassman, a Mesa Dual rectifier and a Marshall JCM 2000, if you have the money please do it, and save yourself the pain.

On a side note I would recomend looking into the Tech21 SANSAMP PSA-1 and or the SANSAMP GT2, these are pretty useful (and good sounding) tools, and would have been a better purchase than the POD pro in my opinion

Good luck in your adventures!!

The pod pro is basically an all in one box that features alot of things that may be very useful to many people....but not me. I wanted a good live preamp and the POD PRO SUCKS live but is proabbly great in the studio. I give it a 5 because it has so many features NOT because it does them well.

I play hard rock/ heavy metal and classical. I use a Jackson RR-1 and a Ibanez UV777. I bought it for use as a preamp infront of my Mesa 290 power amp. It sounds like CRAP. IF you are looking for a realistic sounding, living, breathing tone...stay FAR away from the pod. If you are out to not really impress anyone or play in a cover band and just need something to get you through so you can return home to the wife and kids...then this will be ok. But if you are serious and need pro sound..its no good. A good METAL sound is completely unatainable. I read other reviews that say the same thing but thought..."Im really good at getting good tone from my stuff, those people dont know what they are doing...". They are true, if you like Metal of heavy hard rock...dont buy this. My favorite player Jeff Loomis from nevermore uses one, so that inluenced my choice to buy it. The pod has no....personality. If you want a replica tone then fine but if you need a signature tone the pod sucks. Im either going to try the Tech 21 PSA-1 or go back to my Rocktron Voodu.

dont know sounds like crap, would be EMBARASSED to use it live.

IF you play metal, or need a good heavy thick living tone...stay far away. Im sure for the average weekend warrior it will do the job but not for someone who is serious. Again if you play metal or hard rock (Nevermore, In Flames, Machine Head) stay far far away

I sought out the Pod Pro for the simple acomplishment of my mission to eliminate the setting up of wires when playing live.. Used to DOD grunge pedal and chorus as my main staple of effects, I guess it pretty cool that all of a sudden I have like boocuu stuff to choose from..

I also like the in's and out's; I record my sound using a reamping technuiqe made available by a combination of the outputs. I use a Dual-15 Band Graphic EQ (dual for stereo) but I don't use the Effects Loop- the Pod tends to attenuate and "digitize" the extra frequencies
throught the bandwidths.

Once I wanted to jam at an Open Mic event, and brought the Pod & board with me. Plugged in power, guitar , and to the mixxer and that was that on the fly. I've also used it by itself on numerous gigs, and it's served me well, as well as sparked many inquisitions among the patrons.

I DO wish however that the A.I.R./speaker emulation was assignable to each output while In either live or studio mode. Also the the Stereo effects would play out over into another selected sound If I so desired. I also wish the switching between effects were more... what's that word.. *Instant*... algorythms arn't THAT Complex to warrent a gap in the loading time.. especially with circuit speeds today!

I use an Ibanez S470 with the factory pickups(2-1-2);when Distorting, pickup is at bridge position... depending on the song, I use various config with my clean tones. I practice in a 30x15 sound-boarded room with a window unit AC and a single 6' florescent light on the cieling, with bands playing in all compass direction (vertical)beside,below and above, in adjoining rooms. The hum usually is due to the light, 'puter monitor, and/or the neighbors' magnet fields if I stand a certain way, and to solar flares when they're in season.

I play loud, heavy, melodic, and often fast, usually with the insane modeling. I've tweEeked the sounds, but the software reports the it doesn't exist as a device, but if I ignore it, and use some of the commands in the software, it'll read the pod anyway. I've got my noise gate set just perfect, with the exeption that It doesn't allow me much sustain. I hope to eliminate this by scalloping my neck, but I don't want added stomp boxies (I hate wires, and work with them daily, and I'm not gonna gaft wires at a gig if I gotta do it at work.. that's why God made groupies).
The distortion is great when used in combination with an external EQ. I like the direct sound, but for live shows coming out of my cabinet, I want it to be more ballsy and agressive. Also, much of the "digitalness" of the sound can be eliminated using this method... on that note, at high db NO ONE CAN TELL what amount of digital signatures are there, and would even less so if a very simple and cost effective solution be made: use a graphic Q. Between the pod Out and amp In, use a third-party Q.

I've bought this unit used, and havn't had a problem with it.. the floorboard however tends to lose spring tension in the switches, and can be an irritant to go in and stretch them out. For some reason the floorboard also gets... "dizzy".. : I would push & hold the tuner button, and the thing would flash to the edit stompbox mode and turn my wah on... Now it's getting "stuck" in a certain sound mode. When I reboot the Pod, it usually clears it.
Oh, yeah, also the sample rate switch broke off when toteing it one night (was in a bag, not on a rack at the time).. For the most part my Pod Pro has been my sole relyment for the past 2&1/2 years

Being that I bought this unit USED, there was no warrenty.. I have submitted various questions to the costomer support, and have received NOT EVEN A SINGLE REPLY. Bad business. I suppose that they think their "Knowledge Base"(which Is extensive) covers every topic conceivable already exept mine (related to time clock/midi control issues).
I usually NEVER stay on the phone if it is a computer menu talking to me. They are mere deterants and "runaround generators".

Overall I'm pleased with the Pod Pro. I does what I need it to do, and is really versatile live & in studio. If it were lost or stolen, I would get the upgrade to the Pod XT Pro. Major deciding factors were usability and getting rid of birds' nests behind and beside my stack, while maintaining control on all details of my sound. effect loop is a little useless when looping anything but a digital devices' signal (The A/D converter cuts frequencies)

This thing handles amp models beautifully. It has like, 32 amps, 16 effects, and 16 cabs, I think. Quite a bit. The backside has more inputs and syncs, and MIDI stuff, than most any other rackmount I have seen, and I work with a lot of rack gear!

Damn this thing smokes. Anyone who says it sucks or has harsh tone must be using a poor power amp, speakers, or something. I have never had that problem when coupled with good gear (Roland, Mesa/Boogie). Absolutely insane distortion for the Mesa/Boogie, Soldano, Marshall JCM 800, and Line 6 Insane. You throw that down with a good power amp, forget it son, that's gonna level buildings. For overdriven and clean amps, same deal, beautiful. Just get this badboy a good power amp.

This thing has done gigs and bedroom, and it withstands the rigors of shows and wear and tear. Only problem is that my digital sync switch on the front broke off, which lets the POD sync with Pro Tools and other HD recording system (very cool), but this is easily fixed for like, $2.

No problems yet.

I have been playing several years, and play in a black/thrash/oddball ultra-heavy metal band, and this thing suits my every need. Just be wary of the footswitch cable...it's a T1, and it has trouble holding up if handled rough, but if you get a good cable, it's no big deal. I have compared the models against some of the real deals. The Roland JC-120 sounds the same, Fenders sound the same, and the real Mesa actually gets ROMPED by this. This hold together a lot better. Marshall JCM 800 is the same deal. My buddy, who plays in a death metal band loves it too, but he wishes they made a VHT model, or even some Peavy (5150, Triple XXX, etc...). Knowing Line 6 they will. He says it's a great buy too!

Does 95% of what a preamp & FX-unit should do. If you want to do extreme processing to build out-a-space sound-scapes, you'll need an extra FX-processor.
All the hardware-features (inputs & outputs) are extremely pleasant, both for me as for the band's FOH-engineer as in the (Pro-Tools based) studio.
The one thing that REALLY sucks is the fact that (when playing in Live Mode) the balanced outputs don't carry a representative speaker-compensated signal to the mixer. Sounds strange, doesn't it?
When switched to studio-mode, the balanced outs carry the speaker-emulated sound I want; the unbalanced outs then carry the same signal.
When in live-mode, the unbalanced outs carry a signal that is optimized for feeding a power-amp + guitar-cab; the balanced outs now only carry a simple filtered sound (comparable to a Hughes and Kettner Redbox), because the POD-Pro needs its processing-power for feeding the right signal to the unbalanced outs.
Well, to really fullfill both my guitar-cab's needs as the FOH-mixer I will need TWO Pod-Pro's. Mmm, that's not what they promised me ...

I can almost get any sound out of it that I want, except for really clean sounds. Even when switched to a Fender Twin Reverb, you'll always end with some form of distortion.
For the rest, if you're willing to do "deep editing", you'll get the sound you'll want. Please use <a href="http://www.patchwizard.com/">PatchWizard</a> though, because SoundDiver for PC is such an unreliable piece of software.
The front-panel of the POD-Pro REALLY sucks big time; it looks very cool, the designers did their job very well, but functionally I'd prefer a menu-driven screen. Knobs seem a cool idea, especially for beginners, but they're useless if you cannot reach all the parameters. The "Pro" extension in this device's name, should also lead to a Professional user-interface in my opinion.

Be willing to make some strange decisions about amp- and speaker-choice, because very strange combinations can do the job. For example "1x12'' Vox AC-15" is a bit of a whimpy description, but I use it as as speaker simulation for all of my Heavy Metal sounds.

The sound is not as direct as an analog setup, processing power needs a little delay, but it's not hearable, only feelable. I'm willing to live with that.

I agree with the sound-purists about lack of real tube "TONE", but making the guitar sound wonderfull is one thing; getting the right sound on tape is another. Only if I become a pro with 10's of thousands of budget for making our CD, I'll go the purists-way. Untill then (10K is our budget) ... modelling works right for me, because it save me a lot of time to work on things that are really important, like mixing and making the song work.
If you've ever tried to make a guitar sound fall into its place in a professional mix, you'll know that all the effort that you've taken to record that wonderfull analog tube-sound can be useless, considering the decisions that you'll have to make to make the song work. Same thing that I say to hifi-purist nerds: let's make some music.

There's not a lot of analog components in there that can break and the housing is VERY sturdy and reliable. No backup needed.

Never had real problems. I updated my firmware to 1.3 just by mailing the European Line6 department. One week later it came in my mailbox in an envelope ... for free.

Line6's website and user community are splendidly organized; they're also not afraid letting people complain on their bulletin boards, even when someone completely pisses the company off.

I play guitar for 20 years, 5 of them (semi-) professionally in a Heavy Metal band called <a href="http://www.orphanage.net">Orphanage</a>. If it was stolen, I would definitely buy another one and upload my own sounds; my sound relies on it for 100%.

I love it for it's sounds, it's reliability and it's looks.
I love it for the fact that it doesn't offer features that 95% of the guitarists never uses.
I hate it for the lack of real clean sounds and the lack of a menu-driven interface.

Sometimes I long for analog equipment again, I recently tried an Engl-amplifer for example. Analog guitar-amps sound more direct, a bit less harsh and more musical (very noticable for example when you play chords and listen to all notes individually), but the sounds of the POD are ALMOST AS GOOD and the one thing that keeps me playing my POD-Pro is that it's PRACTICAL and very RELIABLE.

I'll guess I'll stick with it.

~I'm writing this as an afterthought....

I owned it, recorded with it, then dumped it on ebay within a few months...
(see below)

I made quite a few recordings with the Pod Pro before I sold it.

Looking back now, I'm really impressed with the tracks that I laid.
So much so, that I'm back here checking opinions before possibly
re-buying another one.

It was somewhat uninspiring to listen to on it's own...
But, thinking back, it really fit well into my tunes.
And most of the time, recorded better than my amps.
(thru: Equitek C-350/Joemeek VC1/Maudio1010/Logic Audio)

It just seems to "fit" into the mix.
After a little LAP coercion...

I'm not a technically proficient player, but I'd like
to think that I have a good ear. Specializing in mixing.

So, I have to give the thing credit.

Also, I should say that (if I remember correctly) I didn't
find much to love in the default presets.
But, I was able to cook-up a few sounds that pleased me.
Clean wasn't one of them.
I ended up turning to the Joemeek VC1 direct with a 80s Yamaha 335 w/Gibson P90s.

Maybe the technology still has a way to go.....

But, for what it is, I find it hard to fault.

I bought it new, and didn't have any issues....
???

Well....

I contacted sales to see if they would be coming out with a
Version2 any time soon.
It was a very respectful letter.
But, going on well over year now, they've never responded.

I gave them an out by conceding that they may not be able to comment
on upcoming products, but I was still disappointed by the lack of reply.

Playing dreadfully for about 12 years, I've consumed way more
than my legal limit of gear....

The PP is OK at $550, but for $350... I'd probably love it.
For less than $500, my Mesa/Boogie Quad pre-amp outlasted the PP
by years, until it too went to the chopping block.

When reading these reviews, you need to examine the reason why the item was purchased. Everyone has different needs and certainly different opinions!! Based on that statement, the Pod Pro really doesn't have the features I need. I've been playing guitar for about 30 years, and I presently write and record my own music. I also play live with a band. The music can be classified as "progressive rock"
similar to the music of King Crimson, Gentle Giant, Frank Zappa, Jethro Tull and others... My music requires pretty wide range of guitar tones. Everything from totally clean to heavy distortion.
I am EXTREMELY critical of my distortion tone I get out of my setup.

I've always used tube amps. I have tried over and over and over again through the years to use solid state and tube emulation devices. They just can't emulate tube distortion!! period!! "Pay no attention to the man behind the curtain!!" If you can't hear the difference, then you have tin cans for ears!!! I bought the Pod Pro to replace the ADA MP-1 in my rig, forget it!! Of course the features of the MP-1 are not up to the modern technology of the Pod-Pro but I'm strictly judging on guitar sound, tone, and critical distortion....

If you're into speed metal, death metal, etc.. then please ignore the following comments about the sound of the Pod-Pro... As I said, everyone has different "loves" and "hates".... I hate what I frequently refer to as "buzz saw distortion" Of course this type of sound is very popular with many metal players, they absolutely love it and I have no problem with that, it just aint me!! I can't stand that high frequency buzz!... 90 percent of the amp models in the pod-pro have that god-awful nasty distortion!.. Yes, I have spent hours tweeking and programming.. No creamy, smooth TUBE distortion!, If you don't believe me (and I'm sure there are many out there!!) set up the Pod-Pro side by side next to an MP-1 or Chandler Tube driver and do an A/B comparison... make sure you play CHORDS for this test, not just single note leads.. that's where you can really hear the difference!... When you play certain chord combinations through the Pod-Pro using a semi-distorted setting you can hear the offensive intermodulation digital artifacts coming through.
I can hear it... I'm not crazy. You'll read the following statements from others... they are total BULL-S*** !

1) Famous guitarist Joe Blow uses one, it's gotta be good!
2) Multi-million dollar studio xyz has one, it's gotta be great!
3) Our digital distortion modeling sounds just like tubes!

Yea right!!

Don't know..... returned it!

??

While the Pod-pro to some degree manages to emulate the overall "sound" of some amplifiers, it falls short in the distortion catagory. Also, it is not very user friendly in the programming department.

made early 2001, play mostly heavy stuff, however love blues and sparkling clean too
We all know the features, basically all you need. However as someone else mentioned, it would be good if all 32 amps were listed, not just the first 16, having to go through the manual is really annoying.
I use it for both live and recording.
This baby conquers in the studio, almost too easy. Very cost effective not having to fuck around and get the sound right.
Live it's great too, however make sure you have a deasent power amp cos if you dont it wont perform to well when you really crank it.

set-up as follows
Greg Bennet Signature Series Ultramatic with DiMarzio Evolution Bridge >POD Pro >Behringer Dualfex Pro Sonic Enhancer >Yamaha P1600 Power Amp > Marshall 1960A Box
Suits my style perfectly.Gain and distortions absolutly scream. I would go on about the recto and JCM800 settings, but everyone else has so enough said on those. Basically they are pretty damn convincing.
Some people in other reviews have said they cant get clean sounds. Come on, it's really not that hard. Line 6 Clean? Roland JC120? - the sounds are in there, just have a little patience and tactic to your dialling and perfect, shimmering clean tone is awaiting. Add a little chorus and delay and magnifique!! - oh, make sure you neck pick-up is selected for extra warmth.
Vox AC30 Fuckn roars. Really jumps out and bytes you in the arse - cranked some wicked Queen tracks on that setting. Modern High Gain - Gary Moore in your pocket, Boogie Models are great and the Plexi gives a great Hendrix tone, use a cry baby and hell yeah.
This thing shines on both clean and distortion.And yes, the distortion is very brutal.
Now, the sonic inhancer is the icing on the cake.With that running to, no one I know can touch my sound. This is great when the volume is moderately loud. When I really push it I bypass the inhancer cos it's not good when loud. Definition breaks up, and basically becomes a bit messy. So yeah, I bypass it, turn down the gain a bit, punch the mid up a bit, and turn that little knob to the right until I feel my bones vibrating.

Seems fairly rock solid. Have it in a rack case (duh) so not a problem. I'd gig with it without back-up, but I'm gonna get something incase. that can sit in the rack as a reserve.
Never broken down, and I hope it doesnt cos I live in Sydney Australia and bought it in South Africa so my warranty isn't valid!!! - big time shit

Never had to deal with them, but when I do, if my dealer cant help me, it's gonna cost a shitload in international phone calls.

Been playing for eleven years. Now unlike most of the guys reviewing this, I don't live in the US, I live in Sydney, so I don't exactly have the variety and strong currency of yankee players, and unlike some of these guys, I haven't owned every piece of equipment under the sun. But, I have heared lots of different amps. My lasy amp was a Marshall VS100 Combo, which was alright but didn't cut it. I was playing an RG450 at the time. Then I got a V-Amp, that was fun, I researched amp modelling, and the rest is history.
Here in Australia we get mostly Line 6,Marshalls, Fender and Peavey. Very hard to get top end American gear. All Boogies, Soldano's are virtually impossible to find and gear like VHT or smaller companies are basically unheard of. Probably cos if it's expensive for people in the US, it's gonna be twice the price here.
So me having my POD Pro, I'm happy, for now, I know I never will be, but hey, are any of us ever going to be totally happy......

I heard a band use the Flextone Amps ones, when they were warming up, i though...."god why?" I dont buy into this hype about computers emulating the guitar sounds of classic amps and effects.

The band then started in on their set, and it sounds really amazing, so i gave it a change. This is where i made a mistake. This thing is a toy....by no means a professional peice of gear. After all the technological advances, you can, in no way, pass this off as the "last peice of gear you will ever need".

I use all Jackson's and les Pauls, with EMG-81's. Ths unit is not particularly noisy, but it also does not re-create any type of a usable tube tone. It does offer a wide variety....but dont let that fool you, after weeks of tweaking, its still sounds to me like a waste of money. The effects are a joke, and the distortions are a waste of time. The recording outs arent worth my demos, as it sounds like your plugging a zoom multi effects into a pc card.

I wish it would die....

These guys are @#$@'s. I feel like im calling a call center, and they are looking up the answers to my questions on a computer menu. Your fired.

ive been playing for about 9 years. Right now, i use a Mesa Boogie Triaxis, a 2:90, and a bunch of stomp boes through a Ground Control switching system, mesa and amrshall cabs. Never again will a computer try to bring me down!!! DONT BUY INTO THE HYPE. Playing guitar isnt cheap, invest in quality, not the newest computer trends, youll never be happy with crap!!!

Look people. This thing rocks. Counter to other people, i've found it very very good for live situations. There's just one little thing that annoys me. After having it in LIVE MODE the sucker still emulates cabinets. If i turn the emulation off then the XLR outs will not emulate so the direct out for the house mixer will be A.I.R. emulated but not cab emulated so that's a prob cuz there are no dynamics in the house speakers.

Another flaw this thing has is that, for detailed adjustments you HAVE TO get midi cables and plug it to your PC. The noise gate is VERY VERY good but it cant be adjusted via FINGERS haha!. So i'm stuck with that now.. i have to be careful with gain so i dont get hiss when i play.
If the noise gate was adjustable from the front or rear panel it would be GREAT!.

every amp you ever want or need i dont ues effects so no coment their

i was in the stuido the other week with my band and my fender blues juinor blew a tube so the engener toled me to plug in to his pod pro and now i will never bring another anp to the studio agian and i will buy my self a pod 2.0
the amp iused were the twin reverb and ac30 for all my dirty rethem and jcm800 for lead i must be one of the bigest tube snobes on earth but i have no erson to complain becaus this it nerly if not as good as the real things

kick ass tone all the amps any one needs i only wish i could have mesed with the boogie mark11

this amp has all the features I need.
I'm in a band that makes modern heavier metal (nu-metal, if you will, I wouldn't wanna call it that) so I need a lot of hi-gain distortions and sparkling clean and everything in between. and this amp has it!
the effects are great once you learn how to model them and the distortions are great too, especially the "modern hi-gain" amp model really does it for me, it sounds almost like a rectifier or something. the "rectified" amp however, does not sound like the latest mesa boogie dual rectifiers to me (line 6 says so), but more like the first edition rectifiers from like 1995 (props to mesa, they're getting better and better!), this one sounds less agressive, but still a lot of gain, only with a warmer edge...
it also has a live/studio switch which is just awesome. it's a great solution and if we're ever gonna record, I will use my pod. I've heard songs that were recorded with this thing and it can sound like anything a guitarist desires: from raw and crunchy to modern and punchy!

at the moment I'm using a Yamaha rgz312 guitar with the original pickups (ordered single-single-hum).
the pod goes trough a marshall valvestate 8008 poweramp (this thing sucks: I need tubes!!!) to a Stage Accompany custom cabinet-case with 4 x 12" 75 watt Celestions.
for now my band is tuned in drop-D, but soon we're switching to 7 string guitars and 5 string bass.
the Pod is just great for the style of music that we play. we're influenced by bands like Tool, Mudvayne, Meshuggah, Dream Theater, RATM and so on... for a lot of our guitar riffs we demand groove, punch and heavyness (except for the clean parts ofcourse).
and the pod lives up to all those things. when modelled correctly, I can produce the punchiest distortions, the crunchiest crunches and the most sparkling clean sounds.
one thing that amazed me the most was the noise gate! this thing really takes away all the feedback and noise you get if you add more gain.
the varieties on this baby are endless really, no matter what style you play: Jazz, Blues, Funk, Grunge, Rock, Death metal, heavy metal, hardcore, nu-metal what evaaah!!!
the clean channels need to be adjusted at higher volumes though, because it will sound like it's got a bit too much treble.
the distortions, as mentioned before, are just perfect and perfectly adjustable.

I certainly would use this amp any time at any gig. it hasn't failed me yet, and as long as it doesnt fall out of my rack-case or something, I think it never will.

be careful with transportation though, I took it with me on a train when I did not yet have a flightcase for it. ofcourse the trainrails were bumpy and I packed the pod wrapped in towels in a cardboard box.
when we unpacked the thing, the guitar plug-in got screwed out of it's socket because of the bumpy ride (i think). so we had to open the pod and screw it back in.
it never happened again, though...

but after all I think the most important issue here is the poweramp. please, work hard and get yourself a tube poweramp! it'll make the pod sound even better! I've heard it trough a marshall jcm 900 head and it blew me away! It's better quality and way more reliable than a valvestate amp...

i never had to contact them...

I've been playing guitar now for like 3,5 years and the pod suits me fine.
I've worked my way up from a one channel 150 watts homemade combo with a zoom1010 fx-pedal to the rig I'm using now.
Before I went looking for a new amp I saw that the amps that had the sounds that I desired were unaffordable.
the pod seemed a perfect solution to me...
If it were stolen or lost, I hope I can get another pod pro.
The only thing I need to replace in my rig is the power amp. I really want a tube poweramp, which will improve my overall sound big time.
One of the many things I love about the pod is the variety of sounds and the fact that it's adjustable for any situation.
There's really nothing I hate about the Pod (I only hate my poweramp ;).

The other guitarist in my band has a Boss GT-6 amp/effects modeller. He can get some pretty cool sounds out of it, but I noticed it's hard to (quickly) adjust the settings for another amp or guitar, so I'm pretty satisfied with my pod...(besides that, the GT-6 has way too many buttons for me ;)

one thing that I would like to have in addition is the floorboard, because of it's wah AND volume pedal and it's better than a midi-controller: it's easier to connect and handle because it's made especially for the Pod (and Flextone amp).
Right now I'm using the fb4, so I'm not able to do some serious
wah-ing ...

Won't go into that because its been covered extensively.

Some of the sounds/models are good and some are not. This is an OK system trying to be all things to all players. It just doesn't work that way. Sometimes I am happy with it and sometimes I get that sick feeling like I fell for the bullshit advertising hype again.

Hasn't broken yet.

Tried to contact and talk to company when Line 6 first came out. They were not very helpful.

OK, this is what pisses me off about Line 6 in general. They get you to buy this stuff by telling you that this is the last piece of equipment you will ever have to buy and that all you have to do is download upgrades from now on. We all get it now. That goes on for one or maybe two upgrades if you are lucky. Then that model is discontinued and they come out with another one that they claim is the newest and best ever with super duper sequential amoritized musical acoustic antistatic high voltage precision modeling. Of course the new model is the last effect or amp you will ever have to buy because it has everything and it is the new "flagship." One year from now the cycle will repeat again and sucker in a bunch of new players. At least we can use our old computers for boat anchors. These POD pros aren't really heavy enough for that.

I bought my POD 12/2000. It has enought amp models to keep me happy. The effects are almost enough. I would like to have more control over the delay (I can't get to create a particular delay effect that I need which is critical to a song that we do). I use it live and in the studio. It is a killer direct box in the studio where I have used it for a range of sounds from crystal clean to insanely over driven. I like the fact that I can run it into a PA live so I don't have to carry an amp around any more. Just that fact makes this a great product.

Good sounds, not exactly like a tube amp but close enough. The effects are good as far as they go. It is really quiet and I love the noise gate. I play a varity of Stratacasters and they are really noisy guitars. This is the first setup that I have had that eliminates all the noise. I have noticed that some of the destorted amp models tend to be overly boomy on the lower notes. I like the fact that I can get a great varity of sounds because I play all sorts of music styles including rock, folk, reggie, blues, fusion etc.
I also use it as a preamp for my acoustic guitar and it does a fine job of that.

I have used it a great deal without any problems. It is a delicate unit and needs to be protected when moving it around. I dropped it once getting it out of my studio rack and the metal pole like switches snapped right off. Rack it and it should be ok.

No problems that I need to call them for. I never even read the manual.

I have been playing for about 30 years. I have used most of the stuff that is out there and I think I'll keep this one for a while for the following reasons:
1- It is great in the studio (a greate number of great sounds without having to play really loud)
2- It is a really easy and remarkable versital live setup. I use it with the floor board and pumping it through the PA. I will never lug around a standard guitar amp again.
3 - It is easy to use. It takes no time to get a sound that you are looking for.
I give it a nine because nothing is perfect.

This is a very versatile preamp. I don't care if it doesn't sound exactly like whatever amp it's supposed to be modelling, I just like the fact that there's a huge range of amps to choose from. The only bad thing is that you'll find you won't use too many of the amp models. I only use about 5, maybe a few more in the long run. Also the effects are a bit weak (no phaser) but then if you're serious you'll pick up a good rack multi fx (Rocktron Intelliflex or TC Electronics G major).

I play a Parker Fly Classic and I run the POD pro through a Stageline 500W PA power amp and a pair of PA speakers. I was going to buy a Marshall 20/20 and a Flextone II 2x12 cab but the PA gave me a cleaner sound and just seemed much better overall. I play progressive metal/rock (Dream Theater, Opeth, Spock's Beard, Pain of Salvation etc.) and I also play in a jazz band and some more basic metal stuff (Metallica). I thought I would be using the Boogie amps mainly (due to actually being in love with John Petrucci's sound) but after fiddling with the Dual Rectifier and Mark IIC+ sounds I have based my main distortion on the Marshall JCM-800 model and it sounds perfect. It sounds like a cross between Metallica's Justice and Black albums and Dream Theater's Scene from a memory. I'm still working on a lead sound but I swap between the Dual Rectifier, the Mark IIC+ and the JCM-800. My clean sound is the MarkIIC+ clean channel.

Never had any trouble at all. I've owned it for about a month. I'm looking for a nice rack case to put my stuff in now to protect it.

Never dealt with them directly but the message board is great.

I sold my Laney GH100L, Marshall 4x10 and Boss GT3 to buy this.

My only gripe is really that some of the models sound ok but sound a bit messy. It's hard to describe but the Mark IIC+ sound isn't really as clear as it could be. If it was stolen I would either buy a Vetta head or save up for much longer and get my ideal rack (Mesa 50/50 and Quad, Marshall JMP-1 and some fx).

Basically, everything except a power section and speakers.

Suffice it to say that while there's a tremedous amount of tones in this thing, none of them are as good as an actual amplifier. Not that they're bad, but none of them are exact, and none of them are quite good enough. It's a great toy, but I quickly found it to be uninspiring. Not one note I played through this thing made me stop and think, damn, that was sweet! Chorus effects are ok, flange is not that good, the wah on the floorboard sucks. I guess the wah is the only thing that sucks, the rest of it is just ok and no better. I'm not recording, but if I was I wouldn't want to record what I'm hearing from this thing. My review is based on live sound.

The best way to use this device is through a transparent power amp and excellent PA speakers. Allow the POD to be the only thing affecting tone, and it's at its best. I used various power amps, and tried various pa speakers and guitar cabs. Guitar speakers are difficult with this thing. I found this to be a very difficult thing to use playing live, as switching from clean to dirty involves amp model changes, maybe cab model changes, all the tone knobs have to be changed, etc. Just not a viable live sound device. I need and want to love my tone, and so I'd rather have one I love than several million I don't.

It's really good .There are many good sounds one could get out of this thing!There are numerous parametres to play with and the amp simulations semm convincing to me .I think that we should not get into the process if the simulations offered nail the original sounds but I can say for sure that it sounds damn good!The manual seems convincing and quite precise.

As i said above it's really a good quality sound product .My setup is a Gibson Nightwahk->pod pro -> into a smaal Marshall amp. I can't hardly hear any noise and as far as the effects are concerned they are good sounding although this is not it's primary function or should i say this is not why it was built.

Even though it has not been tested extensively it looks sturdy and rigid and yes probably i would use it without a backup.

I have not dealt with them yet but as any update can be found via the company's site , there won't be any problem i presume.

I play a mixture of all different kinds of rock and this thing has the versatility needed : From at the drive in,fugazi and sonic youth guitars to bone crushing tool or heavier sounds.It can also create dark-atmospheric sounds quite easily.I have been playing guitar for 7 years I own an other ulti effect processor ,many individual stomp boxes and three other guitars.Compared to Roctron's Voodo Valve pod pro leads the way .As i said it sounds really good!Fantastic for it's price!It certainly inspires you to create!

I bought my PODPRO new about a year ago. I intended to use the PODPRO as a backup to another unit that was being repaired, but I was so surprised with the qaulity of sound from the unit that I've continued to use it.

I run the PODPRO into a "spare" audiophile high constant current power amplifer. I use a Marshall 1922 2x12 stereo cabinet. It seemed like the older VLSI digital effect rack I once had between the PODPRO and the power amp just degraded the overall sound.

It is very important to make sure the PODPRO is adjusted for the type of power amp and cabinet you plan to use, because it can make a big difference in sound. This is the most common mistake I've seen.

I haven't been in a band for a long time. So, my Line6 is almost a trailer queen.

I find the process for progressing through the pre-programmed setting to be less helpful than say my old ADA MP-1. Plus, it seemed like it was easier to create secondary banks of my favorite settings on the ADA for quick use when required.

I'm hoping I've found at least one setting where I can control volume AND tone for a useful range of tones with just the knobs on the guitar. We old people think that is kewl and handy at times.

I enjoy the variety of sounds on the PODPRO including harder to find vintage amps like the JTM45 and other speciality makes like Budda. I also like how they create virtual mixes of amps such as the JTM45/Roland jazz similation or add virtual features such as reverb and operational midrange tone controls to amps like Plexis.

It took some adjusting and playing, but it appears my main distortion sound is a modified Van Halen patch. On a real Plexi, it could take a long time to find the right head and tube combination to nail this sound. (Generally, I was mixing Mullard and NOS Rayethon preamp tubes on my ADA.)

The effects could be better, but maybe its a "user error", LOL. I don't use effects all the time, and I usually want very specific ones at certain times. (Yeah, batteries can make some analog stuff sound different often due actual voltages and decay rates.)

I've only had one amp I trusted enough for no backup. Its too soon to tell on this one, but I suspect it could get weird if the voltage sagged too much or if the enviroment was too wet. I mean, it is a computer after all.

I suspect I'd carry my Korg P1 or P4 in the guitar case and use it though the power amp as backup.

My Line6 Synth is OK so far too.

The web site is impressive at giving demos, such as their new guitar, and the FAQ is huge. However, I've noticed some questions seem to go unanswered.

I had trouble the times I've tried to submit a question through the web site. Last time, the web site wanted me to login. Fine, but the web site seemed to indicate I was not a valid user, yet I was already in the system (Which is correct).

I've sent several direct emails to artist relations, but I've got no reponse.

I've tried calling several times. On one occation, I did get a response, but it was while I wasn't at home and the guy didn't understand the question I left him at all.

With the understanding I've always found it better to go through a big dealer on Fender stuff, I found Line6 to be about the most frustrating group to deal with outside the cats at Gibson in the 1970s. I find Gibson is OK now.

I've actually helped a few other frustrated Line6 owners myself.

I've been playing since 1969.

All I have left is the PROPOD, my original ADA, a Korg P1 and P4 (very kewl). I could see buying another, but it would depend on what all was "lost", the money, and what else is on the market. (Actually, electic stuff gets trashed and the acoustics get stolen!!!)

I'm pretty brand loyal to Gibson electics and Marshall cabs, but I'm pretty open minded on everything else.

everyone knows the features. if not, check out the web site. the only reason that i give this thing a 9 is because the i believe that Line6 should have allowed you to choose the combinations of effects. Sometimes i have a "wet" guitar tone (lots of effects running simultaneously), and i would have loved to combine more than two effects.

my main guitar setup is a 93 SG with Dimarzio pickups running to the POD then through a lexicon MPX 500, which feeds a peavey 260 solid state power amp and finally to a Genz Benz 2x12 (george lynch's signature model). i'm primarily a blues/ rock/ metal guy. i've had this thing for about two years now and i have a few opinions.

the POD really does have some great sounds to it. usually, you have to do some tweaking but there is an amazing range of tones available to you. from the heaviest distortion to the smoothest jazz tones, it's in there somewhere.

the amp models are quite good but not perfect. after spending over two years with this thing, there are slight differences between the actual amps and the POD. it seems that actual tube amps have more punch and attack to them. also, the clean channels, although good, still do not approach the quality of a good fender tube amp. this is to be expected. remember the price you pay and versatility you recieve. also, on some of the high gain settings, i reccomend turning the bass down a bit, otherwise you get a very strange, for lack of a better term, "farting" sound from the speakers, when you do palm muted rythm parts. i find that certain cabinets are more prone to it than others, but be aware.

generally, the sounds are quite convincing. if the knob says it's set to sound like a Marshall, it's pretty damn close. it also responds rather well to rolling off the volume and cleaning up a distorted channel.

my one real complaint is that the onboard effects are really not that great. i reccomend using your favorite pedals or investing in an effects processor.

overall, for the price paid, i can't complain. an amazing piece of equipment.

i had a few problems when i first bought it. after a few days of playing, the tuner went crazy on me, along with some of the front panel controls. i returned it to the place of purchase and they couldn't find anything physically wrong with it. i was told it was a software problem, and that the Line6 guys knew that some of the early pros had problems. so, i was given another one. within two months, the power jack was loose and working intermittently. i sent it in again and it turned out to be a loose fuse holder. after those beginning problems, this thing has been rock solid. i'm hoping that Line6 has finally got their quality control working.

anyways, i've used this thing live many times, with no problems. if you treat your gear well, it will treat you well.

i've only e-mailed them once and they were reasonably quick to respond, however their answer for everything is to just do a hard re-boot of the pro.

i've been playing 9 years, and to me, for the price, you really can't beat the wide range of tones available to you. if you're in a cover band, or an original band, you should really take the time to investigate this as an option. however, if you've got thousands of dollars to throw around, and roadies to move all the amps, maybe you should purchase the real amps. most of us aren't that fortuante.

Bought in 2001? Amp is more versatile than anything else I have played. Its perfect for me because its got the features of a basic amp, and the control of a midi preamp, and enough basic effects to be the only thing I need. Especially with the Line 6 Floorboard which I dont have yet. Built in tuner works great. The Noise get is so awesome. DEAD SILENT AT THE HIGHEST VOLUMES. AND NO NOTICEABLE GATES OPENING OR CLOSING. Direct Recording XLR outs. Headphones. And More. Sure it has all these Amp Models, but who cares, its the ability to have those and tweak your own sound that Matters! Otherwise you sound just like the next guy with that amp right?

Bought this to replace my Peavey 5150 and ADA-MP1.

Sounds are pretty much some of the best I could ask for. I have played Gibson Les Paul Customs, Schecter A7-Elite, Ibanez RG570, Jem and Universe guitars through it and they all sound great. I mainly love this for its Distortions. I use the Insane setting, and sometimes the Recto. For anyone into Metal, its amazing, I throw in a Bellari Sonic Exciter and no one can touch my sound. Ultra Fear Factory, etc. Clean Channel stays nice and clean at loud volumes. Anything could sound great if you actually took the time to tweak with it. The stock presets are not very useful for my tastes. Another thing I love is that sometimes I like to work on leads, little shredding. And this thing makes it so much easier, just the tone, harmonics, etc. Tube Amp lovers??? Put this thing on Insane, Switch the effects to Delay/Chorus 1, slight reverb, and You got Zakk Wylde nailed. I played a Les Paul Custom at Guitar Center and the false harmonics just jump out everytime. And so many people always ask how to do his harmonics. Same for Legato playing. I am not all that great in my legato playing yet, but the notes just come right out without the need of my DS-1 Distortion pedal or anything. I think the versatility and sounds of this amp can help any player get so much better alot faster. And its rack mounted!!! I used a Mesa Boogie Coliseum 300 6L6 Tube Poweramp with it at first. BRUTAL!!!

Then I got scared of having to replace 12 tubes in it at $300 a pop. So I bought a QSC RMX850 for $299 and it sounds almost the same after a few adjustments on the Prescense and Highs on the POD PRO.

Love it, though I think the Flextone II HD has more balls and sounds less processed. Only complaint is a popular one. When switching between presets with effects you can get this repeating echo/boom sound. Only way to make it go away is to switch to a few other channels with no effects.

This only happens to me rarely, and always when I use the manual buttons.

I never have problems when I use the midi pedal or Floorboard between presets.

As far as I said before, the only complain is with the Effects/Boom repeating delay that happens when switching manually between presets....

It hasnt happened many times, but is a known probably with their gear. But as far as reliablity, it works great and I have never had a problem in over a year. No backup.

Line Six has been fine for me. I did call once and only got a recording, but they called me back shortly after. I have worked with Artist Relations as well and they were very cool.

I have heard horror stories, but no complaints by me. NEver had a problem with gear requiring support anyway, only had a question about a feature.

I have been playing for 10 years, pretty much tryed every amp I could find in any stores. Also gig 2 times a week. And my setup sounds better than anything else I have ever heard, and most people agree that have heard me. Of course I am in a Metal band so that may not apply to others. But the line 6 sounds better than Mesa Dual or Tripple Recs, Marshalls, Peaveys, and anything else I have heard or played. Try em out, if ya can, play them next to the real amps. Like I said though, its about making it sound the way you want it, not using the models. If you want a killer metal amp, Tweak it up in the same room with a Mesa Recto and see for your self...

The Mesa will squeel and hiss, and give ya a nice heavy mud.

Or you can turn up the Line 6 and be dead quiet, even with the guitar volume all the way up, and have all the crunch and tone that the Mesa cant adjust too...

Just my results..

Made in 2000/2001, not quite sure.For ease of use i would give a rating of 7 since there's a lot of "secondary" functions in the POD PRO and thats not really user friendly. Have to give it a 10 though, since there's a connector for almost anything in this thing:balanced,stereo/mono,s/pdif,unbalanced,unprocessed,MIDI,headphones,analog etc. etc. etc. 36 channels,16 digital effects,16 speaker cab emulations.

BRUTAL AND BEATIFUL!!!!!!!!!!!!!!Anything you want, you can tweak from the POD PRO.I play death metal but sometimes i feel an urge to play blues.No problem with this device since it has 32 different amp models.I use this with a Marshall EL 50/50 stereo tube power amp and a Marshall 4x12 cab(i always run the hole setup in stereo)BRUTAL METAL TONES!!!!!!!I USE MAINLY THE LINE6 INSANE CHANNEL WHICH IS SHARP AND DISTORTED AND AT LEAST WITH MY GEAR GIVE AN ENORMOUS LOW END "THUD" WITHOUT BEING MUDDY AT ALL.A DREAM COME TRUE FOR A METAL GUITARIST.REALLY NICE FOR PLAYING SIX FEET UNDER ETC..THE CLEAN SOUNDS ARE REALLY BEAUTIFUL TOO: I USED A BLACK PANEL AMP MODEL WITH SOME CHORUS TO PLAY METALLICA'S ONE AND WELCOME HOME(SANITARIUM) AND IT WAS SOOOOO BEATIFUL SOUNDING!!!!!Name a music style: you can definetely get a sound for it from the POD PRO:)!!!!!!!my guitars:2x JACKSON RANDY RHOADS',THE OTHER(MY MAIN GUITAR)HAS A REVERSED HEADSTOCK AND SEYMOUR DUNCANS.THE OTHER HAS DIMARZIO'S(SAME ONES THAT JOHN PETRUCCI FROM DREAM THEATER USES).

IT looks sturdy enough and since the thing doesn't actually have (sounds like it has lots of though)tubes i think it's reliable.There's not a lot to break in it u'know.

Haven't had to deal with them but their net site is pretty cool and frienly.

Only thing that i'd like to change in it is to have double the amount of controls so you wouldn't have to use the "secondary" functions.But even that's not too complicated so have to give it a total 10.!!!

I believe this amp was made in 2000. Has many great features and an easy to use interface. The different amp models make it great for any musician. I especially love the ease of recording.

I mainly use an Ibanez RG 7-string with stock pickups. I run the POD into a Mesa/Boogie 20/20 poweramp and out to a Marshall 4x12. The amp models sound very realistic. The Brit Hi Gain setting sounds just like a real Marshall JCM 800. The clean channels can be a little distorted, but if you mess with the settings you can get a good sound.

This pre-amp is very dependable. I gig with it all the time. It's not tube, nor is it solid state, so it won't really break down. I wouldn't gig with a backup because I wouldn't really have to.

never dealt with the company

I've been playing for 6 years. This is the only amp you'll ever need, since it has many amp sounds. If it were stolen, I would buy another. I only wish it had a phaser effect since it has every other effect. If you use it in combination with a tube power amp, you will have one helluva rig!!

I like the many features the unit offers. It's not the best thing in the world but for the in-house and club musician, it's fine.... just read the manual !!!

I am using Jackson and Charvels. I am a Metal guitarist that shares leads with a 2nd player for the past 10 years I refused to give up on my Mesa Boogie Studio Preamp combined with a Peavey 60/60 Tube Power amp. I have demanded to only use tubes all the time. but the bottom line is I was not happy with my live tone, I had the preamp Hot Rodded by a guy who has his own line of amps now and has done mods for some of the big boys in the Metal Business. He told me that thi sis the first mod he done on a boogie preamp, so it was like a test experiment. I got more gain out of the Boogie at the expense of taking the reverb tube out completely and being informed that I never get a true "Clean Tone" but like I said ... I play metal... so I dealt with it all these years never 100% satisfied. So 3 days before my first show with my new band I decided to buy the Pod Pro knowing full well that I won't have another practice before the show. so this Line 6 was up to the ultimate test..... And It Passed !!! I just set the setting to Rectified and let it rip. I didn't have enough time to dig in a tweek the sound in a live enviroment, but under the circumstances I was very pleased I had the boogie tone but with that little bit of more "mush" in the distortion and the "beef" my other amp didn't have.

I had my Bpoogie preamp in the rack pluged in and ready to be switched in case of emergency. but I didn't need it. The Pod is very light and naturally I felt like "It's a toy" and it can be broken under a little pressure, but it survived my show and I will go without a backup the next show.

I bought the Pod Pro 4 days ago and I found it used so I have not had to get any service yet.

I read every review on this page before I made my decision, paying extra attention to people who have used it live. All I can stress is that I play heavy music and if that's what you do, you won't be let down in the studio or live. I can't comment on the other tones in this unit. Other important points to remember..... BOOST THE MIDS.... I run into so many people who kill the mids but when it's showtime the crowd wont hear you or say it sounds too "High" or "Tin Sounding". And don't forget to Read the Manual !!!

As far as doing what it's supposed to do, which is model amps, it's great. It has a total of 32 models, most of which are usable to some extent. It also got some basic built in effects--reverb, chorus, flange, delay, compression, tremolo. Has a noise gate too. 36 user-definable patches. I've seen some people complain that they need a lot more than 36 patches. If you ask me, these people have way too much time on their hands. There's a connection for just about anything you could want: 1/4" unbalance, xlr balanced, midi, etc etc etc. My biggest complaint with the features is their ease of use and programming; as everyone knows by now, just about every single control has a secondary function which is accessed by holding down the tap key. This is a pain in the ass. I bet that every single POD owner would rather have twice as many controls on the POD. In addition, there are a number of functions and parameters that are only accessible with a computer and a midi connection. I don't want to have to drag the POD home from my band's studio every time I want to change one of these "hidden" functions, and dragging a laptop over to the studio sucks too. Would it have been all that hard for Line6 to put a friggin bright switch on the thing? And the tap button is a great way to determine effect timing--unless you want an exact number. And that never happens or anything. Ha. No one likes cursors and arrow keys in a rack unit, but sometimes ya need em. And if you're planning on using the POD in a live situation, you NEED the $250.00 foot board. The overall features of the POD are great, but I'm giving them a 7 based on ease of use.

I play a Schecter C-1+ with Seymour Duncans and an Ibanez S-series with Dimarzios through the POD, for the most part. If I'm playing with it live, I run it through a BBE 482 Sonic Maximizer and a Behringer Ultra Curve eq into a Crate power amp and Peavey 5150 cabinets. It sounds awesome direct in or live. There are enough amp models to keep you busy for a long time and to suit pretty much any musical style I can think of. I mainly use Rectifier 2 (a 94 Mesa head) and the Line6 clean, but I've played around with a lot of the others. The Marshall JCM 800 and 68 Plexi models are really good, and the Soldano X88R and SLO are fun too. The Line6 Insane can get to be a little much, but it's useful if you want to get that heavy. I tend to use the Drive/Boost and Presence bump settings on a lot of my distortions; it gives them just enough edge. The clean is better than people think; if you want an absolutely clean sound of of the POD, you have to make sure the Drive is ALL THE WAY down, and turn off the Distortion and Drive/Boost if you have them on. The Presence bump works with some cleans, but it clips a bit at times. The effects are not great but not bad. They're definitely useable, but if you have a better effects unit, you can put it through the effects loop. I do this sometimes with a Boss GT-6. It's not noisy if you use the noise gate. Obviously, the more drive you use, the more it'll tend to feed back. The only models that really give me any feedback problems are the Line6 Insane and the Soldano SLO, and even those are controllable.

It's solidly built, all metal, and in a rack case, so I'm guessing it'll be pretty reliable. The foot board is pretty good too. The volume and wah pedals seem a little more fragile than the rest of the board, but I never use them anyway.

Line6 has probably the best website of any musical instrument manufacturer I've ever seen. Chances are, if you have a question, you can find the answer online. There's also a section where you can download patches that were created by other users and upload your own, if you want. Really great stuff. I've never had to contact customer support cuz every question I had was either on their FAQ or on the user message board. I wish every company had a site like this.

I've been playing for nine years now, and I've owned a lot of gear, including a lot of amps. This is definitely the best preamp or amp I've ever owned. I've tried cheaper modeling processors by other companies, and Line6 is the best by far. Be warned though: if you're looking for an "all in one" box with lots of multi effects and eq's and weird noises and stuff, this won't do it. It's an "Amp Modeler," not a multi effects unit. I look at the few effects it does have as a kind of bonus; the POD's real function is ONLY to simulate amps, and it does that very, very well. And keep in mind that while the POD may not sound exactly like the amps it's modeling, you're paying under a thousand bucks for it. Last time I checked, you could get about three or for PODS for the same price as a single Mesa head. As I mentioned above, the only things I hate about it are the control layout and the necessity of a computer for advanced editing; other than that, this is a quality box to build either a recording or live rig around.

It's really helpfull to read the manual first! The knobs are usualy pretty obvious, but for some amp models, they do different things depending on what options the amp had. It also takes a little getting used to the knobs since if you are making an adjustment to a saved patch, the knob is most likly to be in a different possition than the saved setting and you have to twist it a little to activate that knob for adjusting. It can be anoying if you don't know where you started from and you just wanted to make a little adjustment. If you have a computer hooked up to, you can actually see where the knobs are pointing and make changes though there. You can also fine tune or play with some options that are not accessable though the front panel or that are not easy to do. The tap tempo option is cool if you want to change speed of an effect to match the rest of the people you are plaing with. This is unit's way of setting things is all done though knobs or tapping, trying to get a natual sound. If you wanted to dial a delay to 425ms, it can be done like other processors, you'd have to use a computer to enter in exact values.

This thing sounds incredible. I bought this for the variety of sounds vs. how good they are compared to the real amps. I know they are not perfect repoductions, but I think for the cost, size, weight and ease of use to get all of those amps in there, it's a more than fair trade-off. I wouldn't spend the money to buy the real things and break my back luging them all around to gigs. I like being able to play U2 to Blues, Van Halen, Metallica, etc. I've used this with a lot of differnt amps to see how this sounds in different setups and it makes any amp and guitar sound great if you know the right way to route the signals and configure the unit. It has modes that you can change if you use it with a combo amp, a half stack or in front of a PA System. I use it mainly through my VHT Pittbull Forty-Five 1x12" Combo. I sometimes use a Carvin 2x12" Extension Cab to hang with people using Half or Full Stacks. I've used it with serval high-end PA's and some cheap little ones, just to show how good this things sounds by it self. People kept saying it was my amp that made it sound as good as it did. I then plug it straight into the PA and prove them wrong. It does sound a little better though my amp since it's a tube amp and I can dialed the amp in to where I can get the natural warmth of the tubes without destroying the tone of the amp model. I love the speakers and cab options. You can make combinations that don't exist. You can make up a comination like: the head of a combo amp with a half stack cab with some other size and brand of speakers. It also is incredible for recording. I haven't heard a better processor plugged straight into a recorder.
I like that is has effects with it, but I didn't buy this for those. They are sort of a bonus. They seemed to have left out a phaser, but I know they have all of those pedal modelers now. The effects do OK, but I use a Rocktron Intellifex LTD to do a better job with more control over delays, reverb, etc.

I use it without a backup. I have it in an SKB ATA rack and it has fallen off stage once and it landed face down with only a minor bend in one of the mounting tabs, that I was able to bend back straight. The floor board is pretty good, after I tighted up a few screws that loosened up, causing the switched to be unpredictable.

I have never talked directly to a support rep, but I frequently use the site for the FAQ, Tech Manuals, Pactch Libraries, etc. And I find everyting that I need.

I've been playing for over 15 years and have owned may effects processors, guitars, amps, etc. I've always loved having effects all together in a single package and I was captivated by the amp modeling technology. The effects are OK, I sometimes use them over my other effects processor when I'm lazy and don't want to bother with the extra setup. If it was stolen, my biggest delema would not be if I liked it enough or if it was worth the money, but weather or not I get the exact same one. Line-6 has recently add the Vetta series to their line, and I'd be tempted to check that series out, but I also would consider buying an AX2 or their Half Stack version too. But overall I would buy something from them if I had to replace something.

I realize that everyone and their mother has reviewed this item, but it seems like everyone who has reviewed it has done so with only limited exposure to the Pod Pro... and yes I think 6 months is limited exposure... So... here I go... I won't list features, since they are described adequately. Suffie it to say that there are features that I have stopped using and it has made all the difference. That said, how could this not get a 10 in features?

I got this unit about a year ago, and was immediately less than enthused by the factory sounds... They were good for that guy who plays the most distorted hi gain crap metal, and that guy only (must work great for selling them to kids whose parents won't shell out $1800 for a triple rectifier) ANYHOW... I set out to create new sounds. The basic problem I think people have with the POD PRO is not seting it up correctly from the start. I say this, because I read the book and set it up like they said and found that both the book and I were wrong. But I persevered... I dialed in a host of amps and effects and settings and just stuff that seemed like it should make sense... It was making me insane... To the point where "practicing" became about getting the pod pro to sound good... INSANITY

So then I pulled it out of my rack and went recording with it...

When I record, I record with no effects what-so-ever. Ahhh... I would dial up an amplifier and tweak the knobs and everything would be Golden... splendid... The Pod Pro reproduced the sounds faithfully and had the feel of the amp modeled... I was loving this thing...

I should explain that in my 16 years of playing the guitar, I have played on just about every amp that has been made. When in the studio, I make it a point to record with vintage amplifiers and stuff that might be way out of my price range when it comes to ownership. I have played many, many of the finer boutique amps made. I love them, and I think that when I played thru the pod pro in the studio, I heard the sounds of those amps coming thru the cabinet.

I was very impressed... It dawned on me there and then that the Pod Pro was a great PREAMP and I should treat it that way. It is not a processor, nor is it an all in one box like the digitechs and rolands and bosses I see on the floor in front of so many cover players... I took the Pod Pro home after the sessions and tried again to make it work... IT DID... I set it up to use as only a preamp(to clarify, I was using it for the amp sounds and matching cabinets only) no effects, no boost, no distortion, no reverb nothing... it worked...

I started using all my old stomp boxes in front of it... the response was just like the modeled amp would have been... I got a processor for time based effects and put it in the loop... Perfect... I got a lexicon reverb and put it in at the end of the effects chain in the loop... again... perfect...

So... instead of going on about everything I have done to my rig to use the Pod Pro I will say this...

I think the Models are outstanding, I think that the feel of the amps is right there, I love the clean sounds I am using, they are tight and punchy, I like the distortion sounds I am using, and recently I decided that I like the delay(as a digital delay should be...)

I do not like most of the effects, I do not like the reverb, I do not like the people who can't get over the fact that this doesn't use tubes to achieve the feel of a tube amplifier... Maybe those people didn't play well to begin with... maybe the amps they were using masked the fact that they had fingers made of stone... I don't know... maybe they should take a nice 6L6gc and stick it in their ass and see if that helps... Maybe they are just old and in the way... Maybe, just maybe, the rest of the equipment they use is garbage...

I will leave you with this... This unit is deep... Very Deep... So Deep that there is a lot to consider when you are thinking about using this in a live rig... consider what you are currently using... you may have to replace it with other gear... you may need to sell your Crate cabinet and $100 power amp and get something decent... Think about it before you go get one only to find out what you really needed to do was go get some lessons... I'm getting bitter and angry... I will move on... Just remember... you can only blame the technology for so long... at some point someone will realize that you suck and call you out...

I do use this on gigs without backup... I have never had a problem with it. It has never broken down, but then, I treat things with respect and care... Even when I am smashing my guitar or lighting it on fire, or spearing speakers with the headstock... it's all out of love...

I called them on the telephone to see why I couldn't get it to sound quite right and the fellow on the other end of the line sat there with me, while I tried his suggestions... they were very helpful... they were very kind... thank you to Dave(I think...) at Line 6

I love this thing... I have it down to where I am now using 7 of the Amp models in various states of gain and eq... and the Delay, which is nice and easy to control from the floorboard... Tuner is nice too... here is the one thing that line 6 should be smart enough to do... now that they have the separate effects modelers, take the effects out of the pod pro and make it a better preamp... let them pay for more things from your fine company... After all, you are a corporation and your main focus should be bilking us out of our hard earned american dollars... we are americans... we expect that sort of treatment...

One other thing that I don't feel I have stressed enough... And in the form of a question for all you freaks out there infatuated with yourselves...

How is it that so many people including that guitar player from Creed(who I'd like to get into a knife fight with), Bobby Weir, That dude from Soundgarden, and others who you can only imagine must have to have great tone use these things if the feel of them is so poor???

I will say it again... if you love tubes that much and cannot part with them, shove one straight up your ass and see if it helps...

Plenty of features, versatile, use only in the home studio.

I use a G & L Legacy (stock) and Zion Radicaster (SAs), play 60s, 70s. This unit can be a little noisy, but the gate does a pretty good job.

No problems yet.

No need

This unit was made for the studio. It does a very adequate job in that environment. I use a Triaxis, 2:90 and Intelleflex live and am totally satisfied. The POD Pro keeps me from having to lug all my stuff up the stairs.

Overall amp emulation sounds great, even better when cabinet emulation is off and you're running through a actual cabinet of your choice. The effects selection are few. Probably the only ones mentionable here are the reverb and echo, my even compression. Chorus and Flange appear bland in sound quality, and it does no help in the already great tone in the amp modeling mix. After six months of use and numerous gigs, it has not failed me. Even received comments on a nice sounding "Mesa Boogie" rectifier. When I told them what I actually had, they sh**! Recent recordings with the Pod Pro proved to be more than just another effects/modeling gadget. My recordings sound like they were done professionally. I would love to see Line 6 dudes produce additional effects such as acoustic sim, detune, as well as upgrade their current quality of effects. As for the floorboard, no complaints at all. No noticable clicks or breaks between patch switching. Volume and wah works as advertised. And a big hurray for durability on this floorboard. I think they built it from old tank parts. Dropped it numerous times (my clumsey ass) on the front side from an average of 5 feet, leaving only minor scratches. Overall, highly recommended gig gear. It's steep price well worth the investment.

The only downfall in the sound category is the clean channels. Slightly distorted and muddy at high volume, but you're able to touch it up and use it live. All other modeling sounds I used live prove their worthiness. I prefer to bypass the cabinet modeling and let my 4x12 cabinets do the actual talking. Friends who watch me play live are trying to copy the sounds with regular amps like Crate and Peavey, but to no avail. It's a versatile weapon on stage, allowing your tones to cut through.

Very dependable product. I have carried with me a backup amp, but never used it. The Pod has been dropped at least twice (the floorboard more than I can remember), and stills plays well. With fluxuating power sources in smoky bars and the like, I never had a problem of the Pod shutting down. Used it one time outdoors in 102 temperatures in the desert, and found no problems. Very well constructed.

Never used it

Overall rating - 10. I have used actual Boogies, Marshalls, and others, and for the price I paid compared to having all the other amps is worth it. Again, I would love to see improvements in their effects arena. I always recommended this product to all my friends and people who question my equipment. Hats off to Line 6 for even having a Zippo lighter with their logo! (haha) Awesome product! Stop thinking about it and get it with the floorboard!

This is the ultimate processor for "features". High quality amp emulation and effects too. The effects are not truely "high quality" but usable. The real awesomeness of this product is the realistic amp emulations - more than you could really use.

Sounds are great, can go from sweet 80's rock tones, to blues tones, to modern rectified tones, to clean. All the tones are great, but the clean is probably the poorest of them all - still good and usable. The effects are middle of the road, I suggest using very little effects and letting the amp emulation tone stand out, no need to screw it up by adding too much echo or flange, ect.

No problems yet, but only owned it for three weeks

Can't answer this one, haven't needed it yet.

I've only used it for studio/home applications. Have not used it live yet. But for studio you probably can't beat it with anything else on the market today. You can certainly find more expensive processors out there, but not one with more options or truely better amp emulation. I think Line 6 does rip you off for the $260 pedal board that you will eventually need (for live use), but thats just a credit to capitalism (bastards). Anyway, do yourself a favor and fork out the $600 for an awesome piece of equipment, you won't regret it. I read one guys review that says that he can't get any usable tones out of this unit - the only answer I have to that is that he MUST be a complete idiot. I've played many payed gigs in an 80's rock cover band about 10 years ago and have owned tons of equipment - this is the sh*t (for now anyway).

32 Amp models, 16 cabinet models, 16 effect options, various I/O options. Very Versatile! epecially for home recording purposes.

I am only going to write this review from a direct recording standpoint since that is what I use it for 99% of the time. I purchased the POD PRO after selling a JMP-1 6 months ago because I was in search of a wider range of tones for my home studio. After 6 months of getting familiar with the POD I can truly say I am impressed. I'm not going to make the claim that the amp simulations are dead on to the original amps, I havn't even played most of those originals, but most of the amp models do sound very good and dynamic in my opinion. The Fender models can get very clean with sparkle, and slightly overdriven for good bluesy rhythms. The JCM 800, Rectified, and Soldano models all have great distortion characteristics from downright edgy and scooped for metal to a more smooth or vintage crunch. And all the cab simulations provide a distinct voicing from darker to brighter. I use an outboard processor for most of my effects so I don't use the POD effects but they are usable but basic. The one point I would try to hit home about the POD is that it takes time to get the hang of finding tones in this unit but once you do its options are unlimited. I was frustrated for the first 2 months I owned the thing then one day it started to click. Now I can hear a certain tone I want to emulate and can usually do it within a few minutes.

6 months...works fine.

Great unit with good usable tone for direct home studio use. Very versatile and fun to play with.

The features are too much to mention - bags of fx, some perfectly usable, others less so. Digital out is handy for recording. My main gripe with features would be the fx loop as it is configured as stereo jack outs and ins, and I would have preferred seperates, maybe they were space saving - who knows. Don't want to pap on too much in this section as I think its been COVERED in previous reviews. So I give it a nine, deducting 1 point for the loop.

Bought the thing about one year ago in my eternal quest for the tone grail. Prior to this I'd been thru various amps and configurations - always tubes/ mainly boogies plus a brief stint with a 5150 head.I've been playing for around 25 years, 16 yrs pro/semi pro so I've been around the block a few times and know what I want from tone - but I've never really achieved it. So...I decided to take the stereo plunge, bought myself a reasonable power amp (Marshall 9000 series at the mo. with boog 295 on the way) and the pod pro. I have always been a bit of an impulse buyer and got the pod without really trying it - call it instinct or pure stupidity, I don't really know.... guess what my mrs thinks! When I got the thing home I spent hours trying to get even a half decent sound - this soon turned into days and then weeks but at last I began to make some headway.
Firstly, make sure you are in live mode (I spent two days in studio mode cos I didn't read the manual! - maybe the wife has a point!!)
2ndly, turn off cabinet sim, although the manual suggests you can get some good sounds with this option turned on this is bogus info in my opinion, unless you wanr a processed, crappy sound.
3rdly, invest in a decent o/board fx, I use a tc M2000 and this kicks the onboard fx nutless. Basically, the more pure and simple the signal from pod to amp, the better.
I think the main thing to consider is that the biggest problem with the pod is also its greatest strength - versatility. because you have so many options it is so easy to fart about for months without nailing the sound you are after. I've now achieved a glorious lead/crunch sound (modern high gain model) and champion clean setting (fender blackface!!) which I kind of happened upon after a LONG time trying to get what I wanted from the rectifier model. This model sounds great direct, but never quite right through an amp (in my opinion). It was after reading an interview with Ty Tabor of KINGS X that I plumped for these models, he has achieved some of the most inspiring tones ever submitted to tape and this is his configuration. Thats enough of that - my fingers are aching.

No probs.

To conclude, I really think the strength of this unit comes at the price of a simple solution/instant tone in a live, amped-up situation. It really does depend on what you use to amplify the bugger, plus HOW you use it.
Basically, if things aren't instantly right, persevere - the sounds ARE there, god knows.
There are a lot of mixed reviews on this page and you can bet your right ball that every reviewer has a different configuration/application, its just a case of finding what works for you. Now this isn't necessarily easy, but trust me it will be worth the effort.

Made in 2002.
It's a fairly versatile unit especially with the input and output options.

I've been playing guitar for 15 years. I play in a progressive metal band. I play a Steinberger 6 string guitar with Dimarzio Tone Zone/Air Norton pickups and a Carvin 7 String guitar with Dimarzio pickups as well. The POD pro was a HUGE DISAPPOINTMENT for me. I took it back the next day after buying it at guitar center. I have Johnson J-Station that I play through for practice at home. I run it direct into my Pro Tools recording setup and I've always liked the sound of it and to tell you the truth the J-Station at a price of only $150 puts the frickin' POD Pro to shame in the sound quality department in my opinion. I've used a Mesa Boogie Triaxis and 2:90 guitar rig live for the past 5 years and have been satisfied but I'd always been able to get pretty inspired playing on the J-Station at home so thought the POD must sound as good or better and it's way more versatile with the ins and outs than the J-Station. I figured the POD Pro would have to work pretty well or "Good Enough for Me" in a live situation using In Ear Monitoring which is what I planned to switch to as well. Like an idiot I sold my triaxis and bought the POD only trying it through headphones at the store. I thought it sounded OK through the phones. When I ran the POD Pro into my power amp I was horrified at how shitty this thing sounded. I honestly cannot believe some bigger or well known musicians actually use these damn things. This thing has NO dynamics whatsoever! It feels like utter garbage to play on. I could've cried. I really wanted this to work for me and it was as worthless as a moldy stale turd. I took it back to guitar center the next day and got a refund and then got on Ebay right away and bought another Triaxis. If you've been playing through a tube rig for any period of time do yourself a favor and don't buy into the amp modeling hype for live performance. Stay with tube. You'll most likely be as disappointed as me.

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While I've heard people get ok "sounds" out of the POD in recordings, it "feels" so fake to play on. If you're a tube guy don't kick yourself in the nuts and abandon your tube rig for a POD like I did. Stick with what you got.

After initial problems with my pod -pro (sounds not storing/recalling properly . The service dept.were superb, sorted and returned between gigs .I now want no other .My one niggle is the lack of switching for the compressor .It would be nice to have this facility on the floor board,as soloing calls for more comp.and setting up a seperate patch is wastfull.

I play a wide selection of music ranging from country,Queen,jazz and standards.Main guitars are Fernandes with sustainer(lovethisaxe),A Brian May sig.,and a custom Westone 335 built like Gibsons should be .Bound F holes, flawless finish seymore-Dunc.powered.

So-far 100% reliable

Service and staff beyond reproach .Quick and helpfull .Warranty one year ,

Playing since rock was young ! had every make going .Vox,Fender,Boogie,Marshall(still play through rack marshall valve amp and cabs ) . Would like better effects options (mainly compression on/off . Also like it to rrun a bit cooler

Loads...knob twiddlers heaven.
32 amp models ranging from vintage to modern to never existed (Line6 Insane anyone?), each with inter-changeable speaker cab models, making the shear tone variations endless.
The onboard effects are a little limited, but with practice and some imagination, are pretty effective.
The input/output's on offer are to numerous to mention, but the direct digital out (plug direct into a mini-disc) deserves a plug.

As my music style is based around Grindcore and Death metal, I use the pod primarily for distortion and the versitility between the different settings is great, believe me, theres nothing more satisfying than switching between basic hi-gain tube and (the bowel-loosening) Rectifier setting mid-song. My main guitars are a BC Rich Warlock and an Ibanez 7-string, both with super dist pickups, so I can't comment on how it would sound using a softer output pickup, but theres a lot of gain on offer so I should'nt think that would be a problem. I do however recommend a para eq for tweaking, as the sound output is a little bassy.

Looks a little fragile, but its had a few knocks and survived, so.... A voltage line regulator is a good idea, as the pod kept turning itself off during gigs when the voltage dropped too low due to all the other stuff being used at the same time (digital equipment does that).

I've asked Line6 a few questions via e-mail, which they answered quickly enough

I've been playing for about 7 years and the Pod is the best pre-amp i've owned (that suits my style and that i can afford).
If you can afford a Mesa Triaxis then buy that, if you can't, buy this.

I love having all the output options to hook up to everything from a rig to a nice large recording console.

The MIDI control is out of this world. Every parameter is remotly controlable. I have MIDI controller that allows me to assign different controller numbers to an expression pedal so I can change any aspect of the Pod live (as long as I have it programmed into the MIDI controller ahead of time) One patch the pedal is a volume control, the next it's assigned to the drive to do some cool clean to drive sweeps, the next it's a wah. Great for taking command of your performance. Althought this is usually way beyond what most guitarist need for live control.

First off, POD'S ARE NOT DESIGNED TO BE USED WITH AN AMP! They are a direct input solution. Even the reps will tell you this. I spent many hours playing through the Flextone and not liking how it got thinner as the volume increased. This is due to the solid state power section. I tried Pods through many amps and didn't like the mid range tones and muddiness. Again, it's due to the fact that these products are not designed to be "Re-amped". If you are looking for a Line 6 item to use with a power amp, combo, or Flextone amp, look for other sources to play through. If you want a no hassle sound that can go direct to tape or to a sound reinforcement console Pod's are the best way to go. Think of having your 3 favorite amps, and being able to have 5 different sets of control setting availible. The Pod Pro is a killer processor/preamp.

I don't use the onboard effect since I have a great effects unit already with many options.

No problems so far.

I got to meet the sales rep and really dig into the product and he helped me really decide to buy one. They love to support you with any questions too.

The only thing I would have like to see is some type of 5-band graphic EQ like on my Mesa gear, so I had to grab a Boss GE-7 and throw it in the effects loop when I need the "V" curve. Also miss having 2 gain controls to really focus in on the saturation and mids, but hey, for everything else it does, I really can't complain.

Features..you cant go wrong.

I play metal more or less underground metal and not pop metal, so I need a more hardcore sound. and I got it with this amp. I HIGHLY reccomend this processessor for someone looking for a bad ass sound to go along with their power amp.

Very, nothing wrong so far, just one power issue one time. Somethin to do with the internal fuse.

n/a

Personally I use, 2 Marshall dual monoblock amps with 4 4X12 Marshall cabs, the processor/preamp made my sound, so heavy, it's mind blowing.
I use Fernandes, Revolver Pro 7 and raven elite. My Raven elite has a EMG 81 @ the bridge and hte sustainer pickup in the front. I HIGHLY reccomend this processor.

This unit is easy to edit patches and required little or no use of the manual. I have had most of the high-quality guitar preamp/effect units at one time or another and this was among the easiest. The Digitech 2120 was the most difficult for me.

I wanted rack-mount to go with my Roctron Velocity 150 power amp. I must say that after owning nearly every high-end guitar preamp/effects unit that this ranked at the bottom just above the Alesis Quadraverb GT. It was possible to dial up distorted sounds galore but the clean tones did not even come close to all the "models" available, like Twin, Roland JC120, to name a couple. I could never get a decent clean tone. The eq was honky in the mids and it made a Tele sound like a Les Paul, a thick and midrangy tone. I used a variety of speaker cabs and could never get my tone. Some of my favorite artists are Brent Mason, Albert Lee, Ray Flacke, Larry Carlton.

I did not have a problem with noise in the form of hiss or hum.

I purchased the unit new by mailorder. The 3 gigs I used it on, I had ear-splitting popping sounds. I was about to send it back but decided to open the lid first. The fuse holder mounted to the circuit board had come unsoldered and any vibration caused the power to go on and off resulting in the popping sound. I fixed it myself and it seemed reliable afterwards, but I was spooked to use it live again.

Never dealt with them but felt that I would have been treated well.

I play many styles but am currently employed with a western swing band, much like Asleep at The Wheel. I am playing jazz, traditional country, chicken pickin', some Merle Travis stuff. This unit was not a good choice for this gig.

I have been playing 41 years. I own several guitars: a custom-built Tele with EMG's and a Glaser bender, a G&L ASAT Classic from the custom shop with Barden pickups, a G&L Comanche with "Z" pickups, an Ibanez AM255 (335-type with Tri-sound, an MD (looks like a Les Paul stretched into the shape of a Strat) with EMG-89's and a Homebrew Strat and 2 Tele's under construction. I have 2-Boss VF-1's, a Boss GT-3, A Vanous Evolution head, A Rivera BM100 Chris Duarte model, A Pearce G2r, a Rocktron Velocity 150 power amp, a couple of Korg Dtr1 Pro tuners. Speaker cabs include a G&K 2X12 with a pair of Peavey Black Widow 1204's and ported and tuned to 78Hz, a custom 1X15 with an EVM15L ported and tuned to 72Hz, a Peavey 115e, a Marshall 4X10 with a quad of Eminence Beta-10's. Also have a mountain of other speakers I will be building cabs for.

Look, there's a long list of reviews. I won't go into the features list.

I am a tube amp freak. I've had several boutiques custom make amps for me, I've been a die hard Mesa man, and I love a good Vox AC30. I'm not going to tell you it's just like these amps, it's not. But it is a very very close match. The audience won't know the difference unless you're playing to a roomfull of guitar snobs. I play all PRS, and this thing does a good job of emulating the amps modeled, but it is muddy on my singlecut for some reason. I have insane amounts of fat bottom boost to the point of crudola. Sounds great with a McCarty soapbar though. I use it in a small rig for live gigs at smaller clubs, racked with an echo pro, and a mesa 50/50 power amp, running two mesa 2x12 cabs. When I have to play the larger gigs, I drag out the 2 dual rectoverbs I use in stereo. If you're looking for pure tone, you're going to hate it, if you're looking to sound good enough that people still think you're playing the gear modeled, then you're gonna be happy. For those who play all tube and have gotten to rely on the very active relationship between your amp and your strings, get ready for a new mode of thinking. This thing surprised me, because it does model an active relationship between amp and strings, but not with the feel on your fretboard you'd expect. It was almost surreal to hear the tones coming out, but not feeling what I was doing. I appreciate that, however, because it has forced me to clean up my act and become a very precise guitarist. All in all, It's a great studio solution (I use it on studio tracks to reinforce the real deal, I won't give up that tube amp, but this doesn't exist so that I should.), a very respectable stage solution, and works well with those who are open to not lugging their enormous rigs around.

Everything works great for me. No problems here except that sometimes I have to really look close to the knobs to see if I am really lined up with the amp I want to model. And, as everyone bitches, I do hate the fact I have to hold tap down to dial in the other half of the amp models. really, would a 32 position switch be that bad?

Never dealt with them.

I've been playing for 16 years, and I've owned a ton of gear. I've heard people slam this, and I've heard people rave about it. I am pretty sure that the people that slam it think it's lifeless, digital crap cause there's no tubes. get over yourselves. If you are that freaked about tube sound, go buy a f***ing tube amp and stop slamming a rather ingenious affordable guitar tool. Does it sound perfect? no. Who cares? play with it enough and you'll get to like it and get comfortable with it. I'm genuinely impressed with it, and most people that take it for what it is, a tool, and don't think of it as a replacement of all things tube, would agree.

Brand new out of the Box with the Floorboard. I am in a pop-alt-rock band and play a lot of different stuff. So many amps to choose from and it really sounds like them also. I bought it at first because of al lthe features, liek the volume, wah,a nd multiple pre set channels. Also having multiple effect like chorus,delay,reverb, tremelo,compressor all in one is great.The Tuner is the best tuner I have ever used. It is so Dead-on it is not even funny. Pedal or hand held tuners are horrible compared to the tuner in the POD Pro. It even gives you the letter of the note your are tuning. This means when you are learning a asong from tab or what ever and it has weird altered tuning like (DADADD on the new Creed song) you can do it in a snap.

Now I am a purist who only likes distortion coming from a Marshall/Mesa all tube head. I have never found a pedal that can sounds nearly as warm or clean sounding. I bought this beacuse I really liked having a set up that is nice and neat with the volume pedal, wah and all the channels in one unit and not have to fiddle around with othert pedals and stuff. What I am amazed is how close to real tube distortion it sounds like!! You really have to spend time tweaking the amp you are using it with and then the POD itself but once you figure it out it is pretty easy. I have a MArshall JCM 2000 Triple Super Lead 100 all tube head. USing the POD I have found that the Modern High Gain, afer some tweaking sound just like if not a little better!! I ahte to say it but it really does sound a little better. Now I use really only Live, not in the studio. i tried it through my * track and it sounded pretty good with all the cabenit simulators. The big thing that you must do in the live set, when you are running through a amp head nad cabinet is to TURN OF THE CABINET SIMULATOR!. It took me a week to realize thats what was missing. The cabinet simulators are for when plugging direct into a track recorder or PA system. Once you turn it off when going into a real head and cabinet, it really sounds amazing. Once again though with the cab simulator off, it will sound like shit in headphones or direct,OK? I fidn that I put my Marshall amp head Bass to 10, the mid to 10, and the treble to 0. Then tweaking the POD pros Bass,mid, and treble is s breeze. i thin ksetting any amp head this way should work the same OK?

Have giged thee times since I got it and had no problems.

Never had to use them.

Great for everything. Really a fun toy. You can play for hours and never get board palying with all the amp simulators and cabinets also. It is nice to be live through my amp head and cabinet on stage, and be able to go from the sound of a Mesa rectoverb to a Fender Tube amp. Really amazing tone. The effect also are great quality.

2001 model. By now you most probably know about all the features - they are discussed in detail below. Versatility is it's name. I write and record original rock music in my home studio, and this unit has really made me rethink how I do things. In fact, some things I have noticed include; a) I play a lot more because it's such a joy with all these glorious tones, b) I'm not writing as much because I'm having so much fun playing and c)I'm not writing on the keyboard anymore. There are some minuses - most notably the tendency to throw the digital lock off when using the SPDIF digital output. It's an inconvenience, but this thing sounds so good I'm quite willing to cut it a whole lot of slack. I haven't tried it in a live setting, but I bought it exclusively for studio work and it's more than I hoped for. The effects are average, they are ok for noodling, but I use other gear when mixing down anyway.

I'm using a Carvin DC-747 (great f*cking guitar)and I can get damn near any tone I've ever heard. The blackface tones are beautiful, the Marshall Plexi tones are fabulous, and the Dual Recto sounds are like molten lava. I have a buddy who is a real savante when it comes to tone - he's always been light years ahead of me in that category. After one listen to an mp3 I sent him, he's saving for a POD. If you can't get a good tone out of this thing, you should give up playing guitar

Probably the POD's weakest category. It's really not that weak, the only problem is the digital lock problem mentioned above.

Haven't had to use them yet.

If this thing were lost I'd have to replace it immediately. I have a Peavey 5150 212 combo that sounds great (I do know great tube amp tones), but I can get better tones out of this going to hard disk via SPDIF. Not to mention the versatility that the Peavey just doesn't have. I read in an earlier review someone complaining about the digital output, but to me its golden. Besides my guitar, this is the single coolest piece of gear I have ever had.

32 Amp Models and 16 cab models can be stored in 36 programmable channels. For use in studio or on stage. I have never used this piece of equipment in the studio. I would recommend buying the floorboard so you are able to make full use of the POD's features...especially for live applications. With the floorboard you are able to switch on and off different effects. Plus you have access to a volume pedal and a wah pedal. My only gripe as far as features are concerned deals with when you change the settings. For example, when you have everything set (preamp, effect, cab model, etc.) but then you decide you want to change the effect (from say chorus to rotary speaker), the speaker cab setting goes back to whatever it was set on origianally. Then you lose your tone.

I run my POD Pro straight from the unit to the mixer and it sounds awesome. You could probably convince someone that you have a Marshall stack mic'd backstage and they would believe you. That's how realistic it sounds. I use a Gibson Les Paul custom and a Fender Tele custom. They both sound great because I use different settings with the different guitars. It doesn't sound very good when you use two different guitars with the same setting. But it shouldn't matter, there are 36 presets that you can use. I recommend that you hook up the POD to a sound system to EQ it and select effects. If you try to tweak effects with the headphones on and then plug straight into the system for a concert, it's not going to sound good at all. Everything sounds great with the headphones on. So, tweak your effects and settings through a sounds system before your gig.

The reliability for this sucker is great, but I recommend buying a good surge protector or power conditioner to plug into. Here's why: I played an outdoor gig and there was a problem with the electricity to where I had to have my ground/lift switch on lift. This left me with an annoying hum or if I left the switch on ground, the power would shut off. So I dealt with the hum, but my left/mono XLR output blew out and it quit working. I had to get it serviced afterwards. So, don't rely on cheap, household surge protectors to protect your stuff, spend some dough on a power conditioner (good ones start at $40...plus you can rack it above your POD Pro). I believe that you would be alright without a backup, but it wouldn't hurt having one just in case. I now carry around a guitar amp in case something happens.

My rating for this category is extremely low because I had to have mine serviced. I didn't deal directly with the company, but my dealer is having it repaired and they ordered a new circuit board for my POD. Line 6 said the part would be there in 4-6 weeks. Well, needless to say, it's been at least two months and still no part...which leaves me very upset! But, the good thing is that the repair is being done under warranty, or at least they haven't billed me for it yet. It definitely shouldn't take this long though. I recommend dealing with the company directly before going to your dealer. In my case, I took my POD Pro to the dealer. Then they had it shipped to a company who does their repair work. Several weeks went by before the repair people even got to my equipment. Then they had to order a part (remember 4-6 weeks means like 2-3 months). Now it's being worked on. My dealer sent it off in mid-August, now it's the first of November. So, don't go to your dealer first. Check with the Line 6 people first. You might not get much farther than I did, but it can't be any worse.

I have been playing for about 8 years and I thoroughly enjoy this piece of equipment. I bought it to replace a Digitech RP-7 multi-effects unit mainly for the reason that it didn't have quite as many bells and whistles as the POD Pro. Plus I can place this puppy in a rack case and not have to worry about it getting scratched up. If it were stolen or lost, would I buy it again or get something else? I would go for something different. Simply becuase there are better processors (yet more expensive) out there. I would possibly replace it with a regular POD becuase it's cheaper and it does the same exact things as the Pro. I love the fact that the Pro is rackmountable. I play in a lot of smaller venues and also in large ones as well and this equipment sounds excellent in both. I just plug straight from the back of the POD into the house setup. My band is limited to space in our van, so this POD takes up a lot less space than an amp or a stack. Plus, you can set your POD to sound like just about any stack or amp, so there's no need for those things. I also love the fact that since I plug straight from the POD to the house, I get my guitar and vocal mix both coming from the monitor (instead of having your vocals in front of you in the monitors and a blaring amp behind you). That way you keep you and your other band members happy because everyone can get the same mix instead of your lead singer not being able to hear himself because your amp is too loud. I feel pretty comfortable with being able to operate this equipment and should be able to answer any questions that you might have. So feel free to ask. Check out my band: http://www.crimsonrocks.com/

Go to the site and read the features. One thing i do wish the Pod Pro had was a user bank like 100 persets that a person could store and recall. So you could have models with fx or whatever your lil heart wants.

I use various guitars with emg and dimarzio pick ups. I think if a person wants to have "THAT" sound or "THERE" sound this is a very good thing. I have played all the hi-gain heads you name it i've played it and the POD Pro has those sounds. Granted you need a good power amp to get the thump of a full blown 100 w head but spend the cash on the power amp and it will be way better(I use a tripple rec and a jcm 800 for power and a vht 2150 to power my effects(g-force and eventide). The pod pro fuckin ripps!!!! All the tones you will ever need in a single box.

I have used the POD Pro in studio and live and to me its better live direct in to the return of your amps effects loop.So far so good...

I havent called them yet.

Look think about when you first began to listen to the players that inspired you, you can now have those tones and have the ability to"FIND" your own.The POD Pro is the starting point of the future where one day we can all model sounds and recall them (imagine when they get the guitars to model) Crazy idea huh!!!!

This is a follow up reeview i had a while back. I got a new guitar and it screams now!

I play a ESP custom m model with emg 81's. I can get the perfect metallica setings now. Set it to channel 9a then set it like this:

Drive- 10
Bass- 10
Mid-9
Treble-8.5
Channel Volume-10
Effects Tweak-7.5
Distortion on
Presence on (use tap control)
Effect-Compressor
also set the boost on.
I can get the perfect "...And Jusctice For All" sound with these settings.

A light burned out once but for some reason it works again. Overall it seems like its built to last

Great Amp. Good for all styles of music. Sounds great with a tube power amp. Especially Mesa Simul 2:90 or Marshall EL34 100/100

Line 6 Pod Pro has a lot of bang for the buck soundwise. Too bad its
so cheaply made.

The sounds are great but then so are the sounds in a Emu Proteus 2000.
When you walk into a studio to do your CD, do you really want to have a geek-box like this?
Get a Fender Pro Junior and shoot for ONE good sound.
Then all you need to do is know your music.
Tweaking is for twits.

Line 6 is made like a cheap toy. Knobs that wear out, noise in some units, some sound different than others, screws missing, over-priced pedal boards. Whats up with all that?

Never dealt with them, never going to.

I have been playing since I was eleven. I love my Trace Elliot Speed Twin and my Stratocaster with Bill Lawrence L280S pickups.
Amp sims are the future and it makes me sad.

The features have been discussed more thoroughly in other reviews. I personally wish they Line6 had made the "other" amp models more accesible from the front panel instead off having to call them up under the hood. Construction seems a little cheap to me.

I use a vintage gibson hollowbody through this for late night playing. I bought this mainly for the variety of sounds, bedroom level playing, and direct inject recording features. The live feature of the POD PRO was a nice bonus, but haven't used it live yet, so can't comment. There is something missing with this unit. Maybe it's presence or whatever. There is a lack of dynamics, i.e., pick attack, tonal quality. This unit gets the basic sounds, but something is lost in the translation. After purchasing my first real tube amp (after many years of SS amps), I can say that there is a true difference with respect to this unit. Bottom line, this thing sounds muddy. I suppose a BBE Maximizer might provide some benefit. As a modeller, I like it, but no know that it will never truly sound like a tube amp by itself. A tube power amp might do the trick though. Even then, there's no comparison.

I've heard other reviewers say that this thing is not manufacturered consistently. My experience is similiar. The first unit I picked up was noisy as hell - even with the noise gate on. The other thing I noticed was the LED with the tuner. It was screwed up. I took it back and got another. This one was quiet and I haven't had any problems. Welcome to mass production.

I've thought about selling it, but am leaning towards keeping it for now. If you're an apartment dweller, this thing does come in handy. For direct recording, it is great even despite its flaws described above. Having an arsenal of tones at your disposal is inspiring at least for demo work. Once you get the idea down, go to a studio, simulate the sound using a real tube amp. I think Line6 should get out of the effects business and focus on amp modelling. The effects on this thing just plain stink. They can only introduce noise and other weirdness that I shouldn't have to deal with. Leave the effects to TC electronics or pedal manufacturers. Notice I didn't mention Lexicon - that's because that company really has their head up their A** (a downward spiral if you ask me). Anyway, if you have the dough, it's a good long term investment especially for studio work (which is my focus). For live use, I would never use this thing, that's why I have a tube amp.

Read down the reviews, there's plenty of feedback on the features. My main comment would be I'd like to smack the guy who decided a dedicated "shift" button wasn't needed to access the second set of amps behind the the ones listed on the front panel. I've had to print out a little sheet I made myself that shows what amps and cabs are hidden behind those listed around the knobs. Absolutely ridiculous considering the technology in this unit. You do get a front panel 44/48 sampling rate button, which is used, how often? My hands are big enough that my pinky can hold the Tap button down while I turn the amp selection dial with my thumb (with guitar around my neck), but holy what the hey Batman - it's bad enough these "hidden" amps aren't listed on the front, but most people will need two hands to get to these amps (probably with guitar hanging in front of them), and who wants to keep the manual around to remind what is where? Come on Line 6, this is unexcusable, it's safe to say your designers and engineers are smart enough to have realized what a royal P.I.T.A. this aspect of the POD Pro is. I know they've been dogged to death by this complaint, I imagine the POD Pro II will address this.

***BTW, if anyone would like to have the printable sheet I made that lists the secondary amps (cabs too), drop me an email, I'll send it as a JPEG to you. It's set up graphically like the front panel, with dials, so there's no guessing what is what's where.***

Very important - get the overpriced floorboard. Sorry Line 6 about the dig, but you're not alone, I believe most floorboards, a relatively simple piece of hardware, are priced for a fat profit. Price a POD II then price a floorboard - the dollars make sense only to the bean counters.

Regardless, get one. It makes all the difference.

My comment here would be to echo the sentiment of those reviewers below who say not to be so picky about accuracy of the models. This unit is a tone machine. Frankly, I couldn't care less what amps are being modeled - there is an ocean of tone variety in the POD Pro, and it's the majority of them are killer.

Find your own sound people! Be thankful there's a product out there that is so tweakable you'd be foolish not to take advantage of the tonal range in search of your own distinctive sound. Sorry if you bought this thing hoping it would replace a lineage of amps, IMHO that would be a misguided purchase. Yeh yeh, some of the models are close, or for some people, "right on the money", but who cares!

I understand some may have a need to replicate amps they can't afford, but seems to me you've talking cover bands in live situations. I don't know I'd go there. This thing was designed for recording, it happens to be usable live (which some dispute), in part due to some help from the options Line 6 built in. I don't doubt for a second this was a marketing decision - they knew people would use it live, so they made sure to address that. Rather, they knew if they didn't offer some tweak options for live application, most of those wanting it for live use wouldn't even go near it.

I'm not saying it can't be used live, and that some people haven't had success, but it's clear the ground up design was for the studio. IMHO once again, I truly believe the live options were an afterthought.

About the tones: wonderful. This will not replace a living breathing dyed in the wool tube amp. It will however reward those who take the time to seek and explore.

Some have said the feel isn't there - well, it is, and isn't. Again, it won't replace a real tube amp, the dynamics are somewhat muted, the tactile tube gain/fingers/string/feedback we all love isn't nearly 100%, but it is there. Considering the tone you can cut onto tape/HD is "right" for mixes, I'd expect to lose some live amp feel.

Some people have also claimed the POD Pro doesn't respond to what guitar or pick-ups you have, and that it doesn't respond to volume changes. At the risk of being blunt, WRONG! You people are doing something wrong, don't know any better, or haven't been using ear plugs at your 120db gigs. The fact the POD Pro *does* respond to guitar volume, model, pick-ups is part of what I *love* about this thing. Tweak man, tweak - and take the drive/gain knob off 11 once in a while (often actually). Pull back on your volume pot and experiment. I've found, generally, less gain equals better tone, and the volume pot is indespensible for seeking even a greater range of tone and dynamics.

Note on the floorboard Wah. It's modeled after a Vox Wah, and when it works, it's pretty cool. I have to admit though, most of the time, through most amp models, the Wah thins out the sound into a tinny horrible screechy mess that has the other bandmates throwing things at me. To be honest I haven't tweaked the Wah with the SoundDiver deep edit program you use via MIDI between your POD and your computer. I shouldn't have to though, not for the kind of problem I've experienced with it. So, I just don't use that part of the $250-ish (US) floorboard. A shame. Line 6, you listening?

To bring this full circle, use this unit to discover your own sound. In the old days you modified your pick-ups and/or windings (hello Eddie), customized your amps (hello rise of the boutique amp market), or just created/found that magic guitar/amp combo that set you apart sonically. Yeh, this is still how it happens, but unless you make it big enough to afford a rig beyond what you worked your tail off to acquire, you're pretty much stuck with what that rig can offer. With a POD Pro, you can establish a range of "your sound", meaning, more than what one rig can deliver.

Most important in regards to all this here, is the issue of cost. For $500-$600 the average citizen has more sonic

Heh heh. Well now, Line 6, you could do better. I had to return 3, yes, 3 units before I found one where the output didn't soar into a wretched scream of tinny steely ear bleeding garbage. Actually, unit #3 sounded great, but was missing a bunch of screws. Unit 4 worked fine, but I swear that 3rd unit was richer sounding, but who knows. I didn't want to risk returning it for another like the first few. Plus the guys at Guitar Center were starting to doubt I knew what the devil I was doing, ready to pass the buck onto Line 6. I didn't want to go there since one, I couldn't really prove to myself return #3 was better than #4, and two, I figure (hope) there's an upgrade along the way sometime soon that will make it "all good".

To be, uh, fair, this #4 unit works the same as when I got it. To be picky, I'd say the stops in the knobs seem to be getting mushy, where you're not quite sure if your locked in or in between settings.

It hasn't happened to my POD Pro, but I'll mention this because it's about a Bass POD Pro, which uses the same hardware knobs and chassis as POD Pro - the on/off knob keeps falling out of it's mount, where I'd used it but a dozen times. Shame again on Line 6. I didn't return it because I was sick of returning POD's to my guy at Guitar Center. The switch works fine, but it is annoying something so basic should break with practically no use.

This is kind of annoying as well (gee, and I thought I had so many good things to say before I started this review), that I've given up storing personal presets within the POD Pro. I have to do a hard reset of the unit about every 3 or 4th use. What happens is I'll change an amp model, and suddenly there's that screachy terrible steely noise that comes out, yep, just like the sound I got from the units I returned. Unlike the returned units though, a hard reset fixes the problem (sometimes I'll need to turn the thing off and then back on a few times to make it go away though). Yes, I can store my presets and reload them from my computer, but it happens often enough I now just use manual mode and tend to remember the general settings that work for me. When I need the specific details enabled from a preset I made (for rehearsal or gigs), then I bother to load them from my computer. Hellooooo Line 6!

Well, my only experience with them is with the Bass POD Pro, but I think this applies. They were supposed to send me a software upgrade since the unit I got had an older version in it. They promised to send, never did, I asked again, was told it "went out yesterday", but I never got it. Finally before my 30 day return policy expired at Guitar Center, I just returned that Bass POD Pro and got a newer one that came with the upgraded software already installed. Shame again on you Line 6.

I've been playing for 19 years. If this was lost or stolen I'd get a new one the same day. I can only hope that three of them wouldn't need to be returned for a complete and working one. I've had this unit for a year now, it's used average 4 days a week, a 2 to 8 hours at a time. It's held up fine, but I'd have to admit the harware (buttons, switches, dials) are far from industrial quality. I don't expect it to last without repair much longer - as I said earlier, the dials are already getting "mushy" at the setting stops. I anticipate Line 6 will in the not too distant future be making a few more bucks fixing this unit now it's out of warranty. Ah, if only everything could be like the perfectly functioning 19 year old Boss pedals that've been from hell and back.

Last thing, I don't mean to bash Line 6, I'm just being honest. This technology, and their flavor of it, is outstanding. Now if they can ramp up the hardware quality to match that of a truly professional unit, and fix their Quality Control and Customer Service issues, I'd have to shut up.

The POD Pro is the most versatile preamp I have ever used. I bought this unit for a few reasons. I was hearing so many good things about this "bean-shaped pod thingy" that I just had to try one out. I did, and it sounded simply amazing, although it looked rather childish and toylike, seemed a little awkward, and did not have some features I would have liked. Then I learned of the POD Pro. All the same great tones of the Pod, but in a sleek-sexy red brushed metal 2U rackmount case. The pro version also included Stereo Balanced XLR outs as well as digital outs (in addition to the unbalanced 1/4" outs). The guitar input on the front is great for live or small studio setups, while the inputs on the rear make the unit flexible for patchbay situations. The sampling rate (44.1 or 48 kHz) switch is a nice option, but maybe not necessary on the front panel. I think this should be swapped with the live/studio switch found on the rear panel. I use the live/studio switch often, and it is somewhat of a hassle to reach around the back of the rack. The headphone out is a great feature, but there should be a seperate volume knob for the headphone levels. When I record in certain situations, I need to hear just the guitar from the Pod, but the levels are cranked for headroom considerations and the headphones are blaring in my ears. There are workarounds, but this simple addition would be nice. The unit has a built-in tuner and a built-in noise gate which are VERY convenient. One feature that is slightly annoying is that you have to hold a button while turning knobs to access hidden features. Great overall though.

Damn this thing sounds good! I play a Fender fat strat, a Fender 70's strat, and occasionally a Les Paul through the Pod Pro. I write my own music which is influenced by rock, some metal, and blues. You like a certain tone? This unit can replicate it. If you can't get a sound you like from the front panel (not likely), you can go online and download sounds. If you still don't like the sound (i.e. you are stupid), you can use sounddiver on your computer to customise every aspect of your tone using a graphical editor. In the studio, almost nothing beats this unit. If you want to spend a few thousand on a tube amp, some expensive mics, a mic preamp, mic stands and cables, and a rack full of DSP units, then maybe you'll get a comprable setup. But you still won't have the versatility of the Pod. Some reviewers said the Pod sounds like crap live. This simply isn't true, and was most likely due to user or equipment error. As long as the live/studio switch is on live (turns of A.I.R cabinet simulation) the unit sounds beautiful. I have run the Pod through a peavey guitar amp. I have also plugged the Pod directly into a mixer and then out through a power amp and then into PA speakers. In both cases I had no problems. The unit is extremely quiet in both live and studio situations. This is most likely due to the built in noise gate which can be turned on and off at the touch of a button. The effects provided by the Pod are o.k. sounding. Definately not top-of-the-line, but they do their job. The effects are hard to get to sound good using the knobs on the front panel, but editing the parameters on the computer can yeild some great results. Overall the tone is amazing.

Never had any problems at all with it. I usually keep it in a stationary rack in my home studio, but I transport it in a rack bag I I'm playing out or recording in the studio where I work. It's built like a tank and the metal case feels extremely sturdy. I would definately gig without a backup.

Never had to deal with customer support.

I have been playing for 6 years now, and the Pod Pro has become an integral part of my setup. I rarely play without it, and never record without it. I compared this unit to the "bean" pod and the Johnson J-Station, and this unit blew both of them away. If it was stolen, I would track down the theif, break both of his legs, and then retrieve my precious Pod Pro.

I'm just submiting this as an informative piece. I'v seen a couple reviews by people who give the Pod Pro a "2" in the sound category. Not only do these people make it obvious that they don't know what a guitar is (or how to play one) they also show that they can't comprehend the concept of "tweeking" a musical device. The podpro is VERY deep. It has numerous amp models, and also gives you cab/speaker models to give you extra EQ range. Many people who gave bad ratings on tone don't seem to grasp the fact that you get what you're looking for by combining, for instance, a soldano amp with a Fender Deluxe 1X12 cab. Many don't seem to understand that this device was made to cover all styles of music. For example, paring the Soldano "modern Higain" with the cab that I mentioned produces a Satriani/Eric Johnson liquid lead sound, while paring that same amp with one of the 4X12 cab sims results in a sound suited for thrash or grunge. Additionaly, several people feel that this device is junk live. This is utter bullshit, especially considering that everyone from U2 to Weezer is using the Pod pro live, and sounding incredible. These same reviewers also don't understand that the POdp pro has 4 levals of "cabinet tuning" that DRAMATICALLY change the overall coloring of the podpro. As with the speaker sims, you have to try all of these settings to find the sweet sound you want. For example, the setting that I use live is actually intended for use with a 1X12, or 2X12 cab, but I run into a 4X12 Legacy cab. This setting gives the warmest sound. If you use the setting that is intended for use with a 4X12 sound, you get a sound that grunge or thrash bands would love. These settings were obviously done in a way to give you total control of your sond both in live and studio situations. In case you are learey of my opinions, you should know that I am a session guitarist, playing everything from Satriani leads to jazz, to funk and R&B. I chose the podpro after trying everything. It is the only piece of gear tube or not that has given me the sounds I've had in my head. If you think this piece of gear doesn't sound incredible, you're probably mentally hung up on the fact that there are no tubes in this device. If you just close your eyes, however, you'll know that this is tonal heaven.

Blows my mind awesome!

Very sturdy, no need to worry about it.

They've answered my questions online within 12 hrs.

If you want to stop switching gear in and out, just by this device, and you'll not only get the perfect tone, you'll get tones of perfect tones!

for features, you dont beat line 6, 32 amps, 16 effects 16 cabs, awesome recording outs, good tone. Its wicked versatile. I wish however, that it didnt KILL sustain, and make weird ass noises, and sound the same with all 17 of my guitars.. i mean fuck, single coils and hums sound the same on any high gain setting... clean its ok. the line 6 clean and jazz clean are really good. the delay is really good, the other effects are ehh...

i play everything from jazz, blues, hard rock, classic metal, death metal, black metal... the insane channel is awesome for SHRED, like vai, malmsteen, cacophony, racer x.. every guitar sounds the same.. it kills sustain...the sound quality is good.. but a mesa triaxis makes it look like a joke. I bought this unit, and thank god musicians friend has a 45 day money back guarantee.. it was in my rack for 3 days as i tested it.. and then realized it was not organic or natural sounding.. i mean it sounds good.. but it doesnt know what your guitar is made of, or what pickup you use.. if you dont care about that, and you dont care about sustain, then thats fine.

its weird, it can have different errors and oddities every time you start it up.. like a computer, id rather have a tube amp where i had to change tubes, and i got real tube tone, and my different guitars sounded unique on it. im rating low because it was giving different problems each time it was turned on.

SAVE YOUR MONEY.. if you really want all the options of the line 6, get a pod 2.0.. it sounds actually BETTER, and its much cheaper... its also small, and is cool to travel with.. etc. Otherwise, try a REAL preamp.. the mesa triaxis.. and if you do play a pod pro, run it through a mesa 2:90 power amp.. or else you are just GAY

Bought in march 2001, I think it was manufactured this year.
The features are well described in previous reviews, so I won't repeat them. Everybody who needs more detailed information check the manual from Line 6 web site in pdf format. POD Pro is the most
versatile amp I have had a chance to play with hundreds of sounds
that can be easily transferred from the web via midi loop through patches. I use POD Pro mostly for digital recording into the computer. SPDIF output is the only way I get the signal into the sound card because it is very reliable and controllable from the aspect of gain. I never had problems with too weak or too strong
output level what is very important in the settings of direct recording. In live playing (what is only occasionally) I use solid
state 60 W combo and the sound is excellent. What is a little problem
for me that the set of studio mode and live mode sounds is quite
different so the memory banks must be selected for one or the other
mode if I want to store them in the POD. It would be very helpful for
me if Cakewalk had a studioware which could change the midi parameters (and sound) during playing a track and save them directly with the song.

I play non-tremolo Fender Stratocaster '73 and Fender Lead II '79 with Seymour Duncan Jazz and JB humbuckers. Sometimes I use a set of stompboxes from my young years (from Vox, Electro Harmonix, MXR, Ibanez etc), but most of time I don't need them. To get an own sound I tried at first to tweak them manually with the knobs on the front panel, but the results were far from optimal. Now I have a huge database of the patches from the web and many of them are really perfect. I have to admit that I prefer following way of creating sounds - find a good basic patch (regardless the modelled amp and box) and then make a few adjustments to make it sound exactly as I need. It has two reasons - it saves a lot of time and gives me better sounds I could tweak by myself. Here I would like to thank the people who give the results of their work for free to the other players (like AndyZ, Malhavok and many others). I used to play semi pro in a cover bands years ago, now I play only my own material and do occasional jams. As far as I play mainly instrumental blues and fusion, the sound is essential for me. POD gives me full and natural sound, clean recorded, from ringing clean to overdistorted one. The effects are basic, but well sounding, of course full control on them is possible only through SoundDiver software. What is the best is the noise gate, though the amp is very quiet even without it.

Untill now it works without any problems. I would never use any
amp on a gig without a backup, but it is apparent that the longevity of integrated circuits is much higher than that of tubes.

For me the greatest customer support is the patch exchange possibility.

I play guitar more than 30 years. I used to play many amps - solid state and tube, but now thanks to POD Pro I don't have to care if the amp is tube or not. I have all the sounds I want and that makes me happy with it. As I can see from other reviews, for many people it is difficult to achieve a good sound from POD. I think it is due to the extreme complexity of the amp. Without a midi control you cannot get the ultimate sound, but more or less a rough approximation. For live playing it can be sufficient, but for recording not. If it were stolen, I woud buy immediately another one, though in our country it is more expensive as in US. POD Pro is a great tool for those who look ahead instead of looking back, who like computer assisted control of sound and recording ready quality of sound. I am sure all the sounds are in, the only game is to get them out. If you are planning to buy a POD Pro, you don't need to hesitate.

Versatile is what the Pod Pro is all about. I got it because I play a lot of different styles - blues, soul, jazz, rock ... If you use the e-magic software, you can tweak 'n tweaze to your heart's delight, and chop 'n change between vintage Fenders and red hot Soldanos at a flick of a laptop. With the Floorboard, live, you can hop around all sorts of patches, dropping various FX in & out. Although the FX set-ups aren't as versatile as a dedicated multi-FX unit (this is after-all, first and foremost a pre-amp), there's plenty here and obviously you can easily supplement the Pod with out-board FX units if you need more.

To get your head around these you have to think in of it in two very different situations: studio or live. In the studio, in short, it's magical. You can lay down some quite amazingly realistic sounds - I've been using the Marshall and Mesa Boogie models alot and on tape they're really very, very good. In this respect, of all the amp modellers I've heard, Pod is far and away the best of the bunch. BUT ... Live, this thing is an out and out dog. A turkey. A rack-mounted nightmare. I've been tearing my hair out for the best part of a year trying to use my Pod as part of my live rig but I've finally had to admit defeat (I'm selling it). There are two big problems live: firstly, once you turn up the volume (on the power amp - I use a Marshall 120:120) the treble becomes so harsh and piercing it will strip skin clean off the bone at a hundred paces, and the sound becomes thin and processed sounding, seemingly utterly devoid of your guitar's true character; secondly, the patches seem extraordinarily sensitive (fragile, even) to different situations (a patch may sound f***ing fantastic in one rehearsal studio but then f***ing appalling in another - with no real 'logic' as to what's the problem, it just as if the great tone you had in one place has simply fallen apart because you moved next door!?!? Don't ask me!). The net result is that playing live with this thing is frankly like musical Russian Roulette - you may live or you may die. Effectively, because the sound quality deteriorates so much at volume and because, depending on where you're playing, you may or may not be able to tweak it back into shape, you might end up sounding like God or you might end up sounding like a total twat. So if you want a neat studio tool, as I say, the Pod is still the best of amp modellers I've heard. But if you want to use it live, run a mile - DON'T DO IT!!! Your band members will throw you out after the first gig. It may be slightly unfair, but I've scored sound quality way on down down because I suspect that a lot of people who buy one of these, quite reasonably I think, would expect to be able to use its versatility in a live situation (and besides, Line 6 appear to heavily promote this application in all their literature ...)

Other than the sound quality sensitivity to different situations, the reliability seems excellent - I've only had it a year, but no breaking down problems. (But again, perhaps unfairly, I've marked it down because I just can't rely on it to deliver its sounds live ...)

Never had to deal with Line 6.

As I say, studio = great, live = unspeakably awful. In truth, I now really regret having bought this f***ing thing given the problems it's given me live (don't get me started on my recent 'Clapham Grand' gig ... oh brother!!!). I've really persevered and have desperately wanted it to find a way of making it work for me live. But I know now that it's just not going to happen - digital modelling just can't cut it in a live situation. So, harsh though the score might be given how good the Pod undoubetedly is in a studio situation, live this thing's a turkey! Pre-amp from Hell!

I purchased my pod pro in february 2001. It was surely manufactured in 2000. I would run through all the features but others have done a better job on this than me. I submitted an earlier review about this product.

I enjoy all styles of music but I always gravitate towards metal. At the moment I have Nothingface, Staind, Drowning Pool and Fuel in mt car cd player. The pod has great Rectifier sounds that I intially loved for playing metal. The distortion can rip the paint of your walls. With the help of e-magic I was able to tweak out some nice Marshall sounds and some really food Mark 11 clean sounds. They sound great at low volume. However, if you crank this thing up through a power amp and a cabinet it sounds like a cat stuck in a high voltage fence. The treble is unbearable even if you back it all the way down. The sound becomes tweaky and thin and sounds awful. I tried to force myself to like it and I played out with it monthly for 6 months. If you are thinking of buying one of these please remember that it was intended for recording in a studio. This sucker is utterly useless live. I could not run it by itself because it has no tweakable eq with drove me crazy. I pumped it through a 2101 for effects and EQ but that was just a bigger disaster. I have been playing for 17 years and am not a complete novice to tweaking effects. I had friends try to help me with my live sound and all agreed...Pod Pro sounds great turned down in a bedroom for practice or recording but cannot be used live with any success. I think it is a little pricey for what you are really able to do with it. I wish I had put my $800.00( pod pro+foot pedals) against a Mesa/Boogie Dual rectifier...which I ended up having to shell out $1600.00 bucks for anyway. Even a $1,000 solo Rectifier head would be more versatile and a better investment than the pod. I rate the sound quality a 7 for recording and a 1 for live application.

I have never had a problem with the unit. I wanted to smash it a few times but that is no manufacturing fault of Line6.

Had to contact customer support because I could not get Sound diver to communicate with my unit. They were very helpful and got me rolling in no time.

Overall, this is a great concept that I am sure we will all come to love when Line6 or someone else perfects it. But as of today it is as useless as Viagra on a eunich for live applications. Also, I was very disappointed in the patch library that Line6 has on their website. The same 5 people submit most of the patches and most of them blow donkey nuts anyway. I still have the unit at the moment since the store where I bought it only wanted to give me $300 trade in ( POd pro+footboard!) for it and it doesn't even have a scatch on it. I reluctantly still have it. I could still use it for Cakewalk and the what not but I really just want to part with it and forget I ever was so irresponsible in not realizing that it was never intended for live use. If you want to record with it, its great....wanna play live with it.......its shit. If you want one, e-mail me and I'll gladly sell you mine with the original boxes intact................

Loaded with a lot of good things to get the average person up and running quickly. I have to admit, out of all the gear I tried, this one got you going quickly so that you spent time playing. However, due to the lack of a good clean setting, I returned it within 30 days (see below).

Regarding features, I liked the headphone jack which prevents you from running the outputs to a mixer to acheive the same result. I think the Pod pro was intended to make use of all the I/O's (versus POD 2.0). I was planning to use this for gigging and home recording and the XLR jacks seemed very important. However, once I got into the quality of the effects, I realized that an external reverb was needed at the very least. Putting a better reverb through the effects loop would have been a possibility, but that's another $100 versus getting a good multieffects unit (that just happened to have digital I/O's - TC Electronics G-Major).

I'm a big Fender fan and that seemed to be the killer for me here. I returned it within 30 days because I could not get any clean sounds that I liked. Get get me wrong, there were plenty of clean sounds to choose from, but they were digital sounding or something - can't really explain it. When doing a muffled SRV lick (pride and joy), no tweek I made got rid of the aweful tonality of the device. User error? May be, but I spent a lot of time trying.

The effects are OK and are there to get something going quickly. Like most low budget effects, you only get two choices (probably to keep you from messing the tone up too bad). One killer was I found the reverb stunk. Adding a little was fine, but at higher settings was aweful. This was a show stopper for me. I think you can get by with it if you play the same style music and just want one setting (either here or use your amp reverb), but I wanted more versatility. Adding $100+ for an external reverb made me look at the big picture of what I was spending and I returned the PodPro.

The distortions were awesome. I got a great Peter Frampton sound and the EVH retifier makes you stop tweeking really quickly. In 10 seconds you can get a rectifier with a good chorus and delay, slap on a pinch of reverb and crank it. That was a whole lot of fun!

Don't know long term, but seemed to be built pretty solid.

I've been playing for 21 years and have spent a lot of time and research to upgrade my archaic setup. I've been playing classic, modern, and alternative rock in a band for the last 10 years - thus, multiple styles of music requiring versatility in sounds for my new setup.

I think one of the main benefits of the recent Line 6 surge is the refamiliarization of Tech 21 (whom I'd never heard of before). Per one of the other Pod reviews, I decided to try the Sansamp PSA-1 and have to agree that it blows the PODs away. Again it's not perfect, but the clean settings and medium distortion settings are way more "real" than the PODs (in my opinion). I'm currently running a Fender delux+ strat -> Sansamp PSA1 w/ BBE411 in the effects loop -> TC Electronics G-Major -> Fender Twin Power amp. The G-Major has stereo outputs, but until I get another Fender twin, I'm running mono via the power amp jack (i.e. too much compression when running the PSA1 through the Twin preamp). I've tried a few midi petals and currently have a Yamaha MFC10 coming in the mail. All in all, it's more expensive than the Line6 alternatives, but my happiness is worth it.

Bottomline - I view the POD Pro (or POD) as a great starter tool, and then only for those that like distortion. The effects are there to "get you by" only. I did not compare the sounds of the Pro versus the Pod 2.0, but I've heard they are too close to call. The only reason to keep the Pro is the rackmount for gigging (high price to pay though just for portability. Even if I kept it, I would have only used a mono output, thus $250 extra for a rack version???). The Line6 $229 footpetal is a must for gigs (and the wahwah feature it added was pretty acceptable). The way I looked at it; Pod 2.0 w/ petal was ~$500, PodPro w/ Petal was ~$750, and my current setup (Sansamp, G-Major, MFC10) is ~$1250. What did I get? Great distortion AND clean settings, tremendous versatility on tons of effects per setting (up to 6 versus 2), and tremendous "quality" (that's the key!!!) of the effects themselves (afterall, TC Electronics is known for delays and Chorus, and the reverbs are killer as well). The result - semipro gear at a reasonable price. As with most things, you get what you pay for.

A 25% oui. En effet, les reglages standards (drive, bass, medium, treble, ...) sont directement accessibles. D'autres le sont moins ! il faut 2 mains pour choisir une modelisation d'ampli ou une simulation de HP. D'autres encore, necessaire pour ceux qui souhaite obtenir un son qui leur est propre, sont tous simplement n'inacessibles sans un PC ou un MAC !!!! Si vous souhaitez faire votre son pendant une repet, cet appareil n'est pas fait pour vous : reserve en studio !

Setup : JEM7, Intellifex PoD Pro (remplace par un piranha neuf !)le son lampe est bien modelise MAIS PAS LE COMPORTEMENT ! Jusqu'a ce jour, j'utilisais un preampli de chez rocktron le piranha : le top du top un vrai preampli a lampe ! Avec le piranha, sur un gain de 50/70, j'obtenais un son parfaitement clair lorsque le volume de ma jem etait a 1/10, et le gros son a 8/10. Avec le Pod, a 1/10 on obtient une saturation plus faible et pas un son clair !!!!!

La boucle d'effet n'est pas adaptee pour les fx professionel (sortie -10db au lieu de +4db)

Gros bug sur le filtre d'entre ! Une pente trop faible du filtre a pour consequence de generer un repliement de spectre lorsqu'on joue une harmonique un peu trop haute !!!

L'etage d'entre ne resemble pas a celui d'un ampli /preampli a lampe : le potentiometre de tonalite n'a plus du tout l'action attendue !!

Avec cet appareil vous obtiendrez un bon son avec une guitare moyenne mais ne donnera JAMAIS un excellent son avec une guitare de bonne facture : j'ai utilise ce pod avec une charvel munie d'un EMG81 et le son etait identique avec ma Jem munie de micro evolution, a savoir bon mais pas aussi excellent qu'avec un jmp-1 ou un piranha. Je revends donc mon pod pour re-achetter un piranha (pusique le miens est en panne !).

Style : HARD / ROCK / BLUES (satriani , vai, ...)
Materiel :
JEM7V ==> Bad Hors. ==> Piranha ==> intellifex (boucle d'effet)

Le pod n'est pas fait pouir moi !

The Line6 POD Pro pre-amp, when connected according to the instructions, is amazingly useful for most kinds of music. I am surprised how little I am using my old tube pre-amp.

I bought this unit while another pre-amp was in the shop and my other amp died. I needed something in a hurry. I was looking at amps already. Besides, I've good real questions about the qaulity of tubes I've been using lately.

I got to try Line6 at, of all places, the traveling Music Man caravan.

With the exception of an SRV, I am a Gibson person. I have found the amp a little noisey without the internal gate. It also seems to interfere with CRTs.

I'm having a little trouble dialing in a smooth distorted lead sound. Being old, I like to control things with my volume knob.

Some of the class A models are better than some class A amps I've heard and they take me back. Some of the sounds also illustrate why some of the 'high end' amps brands aren't really that good when compared to the oldie, but goodies, LOL.

No problems after the first few months, but it has an easy life.

I found the company website to be interesting, but I found it impossible to add my question or request even after I became a member of their email system.

The telephone customer support keeps leaving me messages saying I should call, but they never answer my questions or the aren't available when I call from the east coast.

I've been playing since 1969. I use an ART effects rack, an AB Systems constant current power amp and a Marshall 1922 stereo cabinet with this device. I have a few classic pedals, but I usually go without them.

I found this unit satisfied my desire for variety, light weight, and compactness. I really like the additional and still functioning tone controls on the plexi realization.

The effects could be more real and offer more virtual improvements similar to the amp models. I have the Line6 syth stomp box and it seem better rendured.

32 Amp Models, 15 Speaker Cabinet Models, 16 Digital Effects & Tap Tempo Control, 36 Programmable Channels, 24 Bit Digital Outputs (AES/EBU and S/PDIF) with sync to external word clock, Stereo Dual Mode +4 XLR Direct Outs with ground lift, Stereo 1/4 inch -10/+4TRS outputs, Line In and Out (for "re-amping" or processing non-guitar sources), Tone Transfer Sound Library Compatible, Access to expanded features from the front panel, Rack Mountable (with internal power supply! THANK GOD!!!!!!!!!), Stereo Effects Loop, Headphone Out, MIDI, Chromatic Tuner, Line 6 Floorboard compatible(you need this as it is a must to make this preamp do it all otherwise you are wasting your money. Wish the floorboard was included with the preamp hence that was another $250 bucks)Other than that this thing needs nothing except a couple of 4/12 cabinets and a clean power amp( if you plan on using it for your stand alone live rig)

O.K. I have to admit I was a bit skeptical about this product upon first being made about its existance due in part to the fact that I was a firm tube and only tube amp user(I also own a Peavey EVH 5150 Half Stack) and felt that ANY digital reproduction of a tube amplifier was neither condecending nor even possible for that matter. Hence I was one of those people who not only wrote original material but play in a cover band as well covering everything from 70's rock to 80's glam and currently stuff like Limp Bizkit, Korn, and the new generation of rock/rap rock/ and alternative that has hit the airwaves and if you wanna make it all sound like the real thing you need VERSITILITY and although the 5150 is a great amp, as you know you've got your clean, and lead channels and that's it. So I was forced to have to check this thing out and I was surprised at what I heard. In the local Guitar Center the people there were curtious enough to line up each amp this POD emulates around the Line 6 Product for comparison and I swear each time I plugged into any amp I was surrounded by and went back to the POD Pro for comparison to that particular amplifier and with a little turn here and there of the EQ knobs I couldn't tell the difference between all the amps the POD emulates and the actual real amps themselves. In short this thing does it all and does it extremely well. The guitars I used to test it were exactly what I currently own now which are a PRS Mark Tremonti Signature Singlecut, a Peavey Wolfgang and Wolfgang Special a PRS Mc Carty, a PRS Custom 22, an ESP Kirk Hammet Signature Strat, a Fender Richie Sambora Strat, a Hamer Californian Elite, and two Ibanez guitars a Universe 7 String and Steve Vai Jem with Blaze Pickups so I had a wide variety at my disposal. The effects that are built in are clear and pristine. With one test song (Creeds What If) using the Tremonti Model and dialing up the POD Settings for that song as shown in Guitar World man I gotta say it was DEAD ON THE MONEY!! Same thing with Limp Bizkits My Way using the Custom 22. Korn's Blind using the 7 string produced the same results!!!!!! Old Roth era Van Halen, NO PROBLEM!!! One thing though. If you want this thing to really sing you need a Professional high quality tube power amp with alot of headroom and no harmonic distortion. I bought the Mesa Boogie Stereo Simulclass Two Ninety and run it in stereo with two Line6 4/12" Slant Cabinets which give me plenty of headroom without distortion coming from the power amp. If you're hurting on cash a Boogie Fifty/Fifty will do just fine!!!!! In short now the 5150 is covered and in the closet for good as I have no use for it. The POD Pro is THAT GOOD PERIOD!!!!!!

Never needed nor brought a backup yet and don't plan to either!!!!

Customer service was extremely helpful with whatever question I had or if I had a tweaking problem. You can also download artist patches from the web directly into the POD Pro for a Right On The Money Sound which is absolutely stellar as well!!!!

Been playing for 20 years, the Line 6 POD Pro has become my only source of tone now and god forbid it ever got stolen or just broke beyond the point of repair I would have no problem purchasing another one!!!! For the price you can't beat it. If you want it all it's right there waiting to come home with you!!!

Lots and lots of features and controllability.

Pete Townshend is right: this thing is a toy! I tried it (and everything else I could get my hands on) out at a local music store. It has great sound, great tone, EXCEPT that it doesn't respond to playing dynamics! I mean, it doesn't 'play' like an amp. Think more a 'verb or DDL - it's not musical at all since it is a static effect. My old Foxx tone machine and Big Muff are more dynamically responsive! Digital Modeling has a way to go before it can compete with the analog world. I finally settled on a Tech 21 SansAmp PSA-1, which is a rack mounted, digitally controlled version of the old SansAmp. It's not perfect either, but it IS musical (and the signal path is analog). It emulates tube loads through a matrixed network of transistors, so it's working in the 'micro-voltage world' similarly to how a tube works at higher voltage. Bottom line: it still aint a Marshall stack, but it sings, whispers and cries, which the POD can't do. With the Pod Pro, you might as well pick every note the same, because it's going to react to it the same. A big disapointment

Hope this helps.

Cheesy knobs. The PSA-1 looks cheesy too, but FEELS much better constructed.

If you've got ears, and you're interested in musicality, this box is not for you. If you want an easy way to shred, go for it.

it is simple to use, and the preset are suitable for all the music style.

i play in an hardcore band, like morning again, poison the well, arkangel, and i need tons of distorsion. so i use the line 6 insane channel, it is a monster! a wall of distorsion.
i have a esp viper, with two emg (81, 89), a rocktron velocity 250 a marshall cabinet with four eminence speakers (150 watt each one)and of course the pod pro. with this equipment i have a powerful sound.

never broke down.

if it were stolen or lost i'll buy it again, it is the best preamp i've never heard, expecially for the distorsions.

No BS. I play in a loud aggressive industrial metal band and a laid back gothic AA band this unit has EVERY damn distortion sound and clean settinh you could ever need or want for live and in the studio

Gibson Paul and SG

So far so good

I have not needed them yet and that is a good thing in my book

Kicks major ASS!

My setup is Ibanez Universe (PWH & BK both '91) to AKG Wireless to Pod Pro (effectloop send to g-major then returned) to Mesa 2:95 to 2x Marshall 1960A (i also sometimes use a TC 1140 to finetune some frequences). That setup is among the best i ever tried. And the pod is a big part of it. I play a lot of different styles from aggressive metal (visit http://www.mp3.com/slowlife for mp3's) to days of the new type style of music and electronic/heavy kind of music. I owned the regular (kidney shaped) pod a year ago but it isn't half as good as the pod pro. If u wanna have a just a good directbox the regular pod may work just finne but if you wanna have a great preamp and one of the best directrecording product that is out there buy a POD Pro (the other1 as i see it is the sanssamp PSA-1). The downside of the pod is that the effects sux. I don't use em at all. Before i bought the G-major i used a Boss GX700 and even that was way better than the Pod on FX. I would like Pod to come out with a version w/o the FX but with some more EQ.

Never had any problem

I would like it to have some more EQ possibility and more edit functions on the Noise Gate otherwise it is on hell of a product.

NOTE: The POD Pro is the 2 spacer rack mount version of the POD Version 2.

Turn it on, plug in and play. 'Nuff said. It's so easy to use, it's scary. The manual is well written, funny and very useful. If you lose it, you can download the whole thing from Line6.

Patch editing is the worst part of any POD because of the useless display. I hate that the display only says: "1a" or "9d". I'd rather have a text display so I can make custom names: "Lou's Blues", "Bob's Mean Grit", "Balls On Fire" etc. With all the work they put into this thing, you'd think (at the very least) they'd include a better display!

Other things that I liked:

Tones - smooth, hard, bluesy, clean, crunchy - they're ALL there.

Digital out - not using yet, but it's there.

Tone exchange from the POD website.

BIG KNOBS - easy to tweak.

Endless combinations of cabinets and amps.

It's bright red and it looks COOL in my rack.

My setup includes a Mackie 1202VLZ Pro, Alesis Quadraverb+, Tech21 SansAmp (which I still LOVE), and various midi gear.

Sound quality is very good, if not TOO good. It takes some tweaking to get a more natural amp sound from the POD. The presets lack some high-end crunch, however the big fat knobs for tone control assist with getting a desirable sound. Reverbs and delays are useable. As is, the Tremelo, chorus and flange. I don't use the compressor since I go through a dbx 266XL.

Distortion and grit are very good, but I can see how hard-core amp jockeys would hate this thing. And I say that with all due respect.

So far, so good. I don't gig and it never leaves my rack. If I DID gig, I'd bring a backup regardless of what model I used.

Haven't used it yet. I hope I never have to.

I play a mostly melodic (arena) rock type of music. However, I also create various types of instrumental guitar compositions. The POD Pro allows me the plug-and-play aspect of getting tracks down quickly! Many of the presets are inspiring too. After 2 days with the POD, I wrote a neat song which is now included on an upcoming CD. Without the POD, I'd be stuck at the first 8 bars.

If it were lost or stolen, I'd wait until Line6 came out with the POD Pro Gold with 4x32 character display.

If you want to hear it in action, go to: http://mp3.com/robertjansen and listen to the song "Beautiful Day". The POD is broken up into different sections of the song using several of the cool tones. All the other songs on the website are Tech21 SansAmp. Do a comparison.

Incredible models with digital out!!! Great for studio.

Again, incredible models with digital out!!!

Very reliable.

Never had to use it.

I've been playing pro for twenty years and am clasically trained. This is one of the best tools for studio use that I've seen yet. I own an AX2-212 and love it just as much. These amps are the most valuable I've ever owned. I would by another in a heartbeat!

www.line6.com, if u still don't know

Using Ibanez Steve Lukather, Dean EVO and Hohner Strat (with JB Junior PU) it sounds pretty good for Studio and rehearsel. Some Sounds are great live, as well. But it's way too complicated to match all different sounds with identical loudness(by use ofChannel volume). By the way does anyone know how to manage this problem easily ? Thanks for your help!

No problem, so far !

Wait and see, until it's necessary!

I'll keep it- maybe someday I may use it for live performaces,too.

it has headphone jack, xlr and 1/4" outs, fx loop, everything in stereo. it also has knobs on the front like on a head. so if you are playing live and your live sound you programmed into it is a little too bassy, you turn it down...right there! no parameters to configure in the dark. you just turn it up a notch on the fly! it is confusing at first but once you get used to the setup, it is totally easy!

beyond killer! i have been playing 14 years and i'm really really picky. the tones are so clean and real sounding. for recording, i go right into the board, no micing! it sounds insane. i can get that tone metallica used for their tune ONE with no problems. i'm using an ibanez jem 7dbk mainly for recording cuz of the breeds pickups it has. they are tighter punchier pickups. i have had every amp combination mainly and this one is just great...and a lot cheaper. i bought it without even testing it out. i heard a lot of hype, did a lot of research and finally i just said, I'LL TAKE ONE. i knew i could return it if i had to but no way after we started messin' with it! everyone has pros and cons, likes and dislikes. i really recommend this. the cleans are really clean and the metal is molten. listen to metallica ONE....you can get that total sound with very little tweaking.

only had it a month.

never dealt with them

get one; you can always return it. i have been through many amps. i know it's all in what your taste is and i wouldn't waste my time just raving on something i think is good. i'm doing this cuz it really stands out. check it out. i have a basic track you can hear by going to my website, www.steverotter.com and clicking on the FREE STUFF link.

The POD Pro is without question the most feature rich and flexible single piece of equipment I have ever owned. See the downloadable Owner's Manual on the Line 6 site for more detail. Its intuitive design makes using these features easy, and by spending only a short amount of time in the manual, anyone can create a vast assortment of high-quality, usable tones.

My gear: 1962 Strat stock, straight into POD Pro.
My Styles: All - POD suites many

Here's the deal in a nutshell. This device is not perfect, but the variety of sounds it can provide easily justifies its cost. Don't consider POD Prod on how closely it's models match the original amps. Instead consider it as an amp with a great number of great tones. It is the Swiss Army knife in your tone toolbox. You'll wonder how you got by without it.

I have had some issues, which I will describe shortly, but the response from support, and the brilliance of this products architecture have made them insignificant.

Here's what you need to know about POD Pro:

The tones produced are not the product of tubes, transistors, or samples. They are software models. I am in the software industry and even after owning POD Pro for 3 weeks this is still difficult for me to fully appreciate. Don't worry about the details of how it works. Just know this, if you have a problem or if Line 6 enhances this product, you simply get a new version of the software and you're in business. Bill Gates will undoubtedly find some way to get in on this.

Issues I've had:

When I got my POD Pro I found that one of the features described in my owner's manual did not work. After a brief conversation with support they determined that I had an older version of the software. They shipped out the current version (burned on a micro chip), which I installed and my problem was solved. There was no charge for the support, the chip or the newer version of software.

Accessible, friendly, and very helpful. They are tremendous compliment to the overall Line 6 philosophy.

The POD Pro is an essential part of my live and recording rig. Bang for the buck it cannot be beat! Sure, when I get that big record contract I'll use the real amps POD Pro is modeled after, but in the meantime this works just fine.

If lost or stolen I would definitely buy POD Pro again.

The Pod Pro is the most easily programmable piece of equipment I've ever owned, and I've had my share of effects. It has 32 amps built into it, so all you do is choose your amp, turn up your gain, set your effect, tap your delay tempo with your foot(if you got the floor board, if not tap the button on the unit) and hit save twice! How easy is that, no edit modes, it takes seconds to get what you want. The manual is easy to get through, they don't use a lot of technical language, it's something any 19 year old like my self can understand.

I'm using my fender strat, an ibanez(american), and a heritage les paul through my pod pro. Currently running it through a peavy 5150, but it's going to be gone and replaced with a rack mounted power amp. YOU KNOW WHY? Because you don't need a tube amp to get the glorious tube sound out of this processor! many well spent years went into getting that tube sound out of this thing. the ONLY complaint I have on the sound is that I can't seem to get high end out of it. The distortions are derived from all of our favorite amps, like the rectifier and the plexy, and vibratos from old fenders, delays, reverbs, chorus etc. are all easy to use and sound great.

So far this piece has been dependable, it is a rack mounted system so the rack you put around it helps determine that too. It's a solid construction, all steel, and good craftsmanship. I really wouldn't worry about a back-up unit at a gig.

never dealt with the company, don't need upgraded.

I play anything that is guitar driven, meaning a lot of guitar in it. Blues and rock of all styles is my performance. I've been playing for about 5 years, and definitely plan on keeping this effects processor. It's the best I've had, and easiest to use. So far I've had, numerous separate 'stomp boxes', the boss GT-3, some Zoom boards, GT-3 was good, but it's no Pod Pro. Can't say theres anything I hate about this, except it would be more convenient to plug into the floorboard, or to at least have that option, but if you got a wireless system in your rack, you don't have to worry about that.

we know what it is

I am playing through 2 ESP guitars with EMG 81 pickups and the thing gets heavy beyond fucking belief. I play through a 31 band eq with it and it's just amazing. The clean sounds are pretty crappy cause you get too much distortion. Other than that it kicks ass.

The little switchers to switch from guitar or line input are cheap they both broke off which sucks. Other than that I could jump on it and it'd be all good.

AWESOME!!!!

Other than clean tones and the little switches it's awesome.

i wont waste my time, we all know

Im using an ESP 7 string. i run this through a Carvin 100 watt tube power amp and a BBE Sonic Maximizer (BUY ONE. YOU WILL NEVER GO BACK)I mostly play sevendust/tool style metal. This thing is pretty quiet. man i love the fact that i can crank it and hear nothing thanks to some great noise supression programming. I mainly use the Line 6 Insane setting, which is one of the best distortions ive ever heard, period. Im not really concerned with how faithful these amp simulations are to the real thing because it should be about THE TONE ANYWAY, not how close something sounds to something else. Ive had alot of people tell me my tone is fucking amazing live and i tend to agree. The clean sounds are rather weak however, without a lot of balls behind them.

hasnt broken down yet, however its pretty damn heavy in my rack and has broken a few screws to come crashing down on top of my power amp. no damage yet...

line 6 kicks ass. they walked me through, step by step how to use the online programming features. \m/

sure its a great amp, i wish the clean sounds were better. people that shit on this thing for live performance are fucking dumb shits. they just dont know how to tweak, which isnt that hard because almost all the sounds are usuable WITHOUT much tweaking at all. easy as hell to use.

Made in 2000, all digital preamp with 36 memory location (what a joke!), 32 amp models, 24 bit A/D conversion (vs 20 for the bean pod), great I/O section (TRS, XLR, digital), two mode studio/live (although this box really was designed to be used in studio), cabinet tuning, yada yada, everyone knows the deal. I'm not giving a 10 because memory is cheap today, and putting only 36 memory locations in a 750$CA unit is basically like laughing at us, it only proves it was not designed for live use.

Been using it live and in my home studio since december, with a Godin LGX and a Fat Strat Texas Special (Lone Star). In my home studio with my computer it's incredible, can get any tone I want (my 2 guitars help, they both cover a lot of territory) with the 32 amp models and 16 cab models. Even more powerful when doubling tracks with different sounds (I like to double tracks with the same amp but different cabs). Fender blackface when playing my Strat is pure SRV territory and I love it! Just be careful with the treble on this amp model. If I had the money, I'd rather mike a real amp. But do you really think I can afford having all those amps and cabs in my basement?

You can also have fun making weird match. Take the Small Tweed for example, crank the drive to 10, use the distortion boost and send that through a 4X12 with Celestion V-30, you can almost play metal with it!

Now the part where I use it 90% of the time: live!
This is where the unit does not shine. After a lot of tweaking I was able to get the big metal sound I need most of the time. But that was achieved by not using the PPro the way it's supposed to be. Basically, you put the switch to Studio instead of Live (?!?!??) and carefully select "No cab" as the cab model (because even in Live mode, the thing still emulate cabs!!! it sounds like a miked cab heard through a guitar cab...yuck). That's not all, doing so makes it sounds like a Metal Zone direct through the PA (even if it's sent through a guitar amp... go figure). You have to boost the bass a lot and cut back on mid and treble. I was able to get a killer Dual Rectifier sound this way (oh, I'm playing through a Mesa Recto 4X12, maybe that helps :). Some amp models are harder to work with when using this method. You basically have to tweak a lot. I bought a Behinger 5-band parametric EQ (Ultra-Q pro) and put it between the Pod and the power amp for further tailoring, I boost the body and presence with it (the Pod sounds too mid-scooped for my tastes when used the way I use it). I must mention, if I don't use this technique for my live sound and keep the unit in Live mode and let the cab emulation on, it makes WAY too much bass and piercing highs and it also feels less "direct" (like the amp is in another room, I think this is due to a longer processing time).

I also have to point out, it works pretty good through my Mesa cab, but through some other cabs it's useless (I had to play through a Beckemer cab once, they just didn't like each other). I use a high-powered SS power amp and I usually don't have headroom problems.

The effects? Well, tried to find a good sounding preamp as versatile as this one for the same price and chances are it will not even have effects and probably cost at least 100$ more (it's called a Tech21 PSA-1), so don't expect this thing to replace a TC Electronic G-Force. But it's good enough that I don't have to bring a separate effect processor or stomp box with me, it actually does a pretty good job.

I do use ONE stomp box live though: a Boss TU-2, because the built-in tuner is HORRIBLE.

What I like: before buying this I was using the preamp section of a Flextone XL (first generation) for the same job, and I always had to use the presence boost or it sounded muffled. With the Pod Pro I only use the presence boost for what it was designed for: a presence boost! It doesn't sound muffled without it.

Never had a problem with it or the Flextone XL I had before. I saw it reset 4 times in a row once during an electrical storm because the power cut. It rebooted and relaunched the same patch I was using and I kept on playing after maybe 1 second of dropout and I didn't loose any preset or anything (the fact that it automatically launched with the same patch I was using before amazed me, they thought of everything).

Of course if it breaks, I can't fix it myself, so it gets a 9

My theory is that you should never have to experience it. My dealer's customer support is incredible though.

I'm satisfied with this setup for the moment. I might eventually change for an all-tube setup, but for the moment, each time I tried that, I got less than ideal results. But my Line6 gear keeps giving me what I want over and over, you just have to learn how to use it. It's funny how I prefer the Pod's Rectified patch from a real Dual Rectifier head (I had a Tremoverb last year).

You know what they are, if not, go to to http://www.line6.com and see for yourself.

I play my Epiphone Les Paul Standard through this. I am able to get several terrific tones, all the Fender Delux, Twin and Bassman sounds are pretty much right on. The VOX sounds are also right there, and when recorded with the guitar exposed, the AC30 Top Boost is a dead ringer for the real thing. Plenty of cabinet models, 16 in all, give a pretty wide range of sounds. Some of the Marshall tones are good, such as the Plexi head. However, the JCM800 seems to not be so faithful to the orignal sound, but it is great nonetheless. The Mesa and Soldano sounds, while not in my style of playing, are also pretty accurate. The Matchless amp and the Matchless 2x12 cabinet are superb, overall, the amp and cabinet sounds can't be beat. I record to Digidesign Pro Tools LE with a Digi001 and can re-amp (record guitar dry while hearing your POD PRO modeled amp, then later go back and re-amp your dry guitar sound until you get the best modeled amp sound) which makes this superb for studio use.

The effects are pretty lame in my opinion, but I almost never use them, I add them after I record, with some other device. They are somewhat usable, but not very real sounding, especially the reverbs, spring and room. Chorus and Flanger are acceptable, but not fantastic, the same with the Delay. Tremolo just doesn't sound like a Fender tremolo to me, and the compressor is pretty lame as well. The rotary speaker sim just isn't a rotary speaker at all, but I didn't buy this thing for the effects.

With the Emagic Sounddiver software that comes with this thing, you can get in and tweak all the parameters that they don't expose on the front, with a knobs and dials interface. I can get all kinds of sounds ranging from Tom Petty VOX, to SRV Fender, and 80's hairband Marshall and Mesa Boogie sounds.

The only complaint I have is the lack of ability to modify the microphone modeling. It's fixed and tied in to the cabinet models. To get around this, I use Antares Mic Modeler in Pro Tools to get an even more vast array of mic'd cabinet sounds.

Very reliable so far

n/a

I'd have to rate this pretty high. Do not use this for playing live, unless you run it right into the sound board. Also, don't try to use this to make the super tricked out effects washed sounds you may want (I don't care for these anyway) it just doesn't shine there. If you want to record some raw, killer guitar tracks, without bringing half a ton of amps and cabs, and trying to mic them, this is your box.

If you're used to the Line 6 system of "knob tweakability," you'll feel right at home. If you're not, USE THE MANUAL, because the stuff that makes POD Pro deadly is in the secondary functions. Once you learn the basics (don't oversaturate the tone settings), it gets real easy. Be patient: IT TAKES TIME!

I play a Blade Strat and a Guild Bluesbird. This thing is shines in the studio and larger venues, where your goal is to nail the sound of the various amps and speaker enclosures as miked by a great engineer, with no interfering stage wash from other instruments. MAKE SURE TO USE A GOOD SET OF HEADPHONES WHEN PROGRAMING. THIS IS THE BEST WAY TO MAKE SURE YOU'LL GET THE SOUND YOU THOUGHT YOU HAD FROM THE DIRECT-OUTS. POD Pro has a little noise, but nothing compared to the standard POD. Connectivity is excellent. The sound pallet is almost infinite. I can go from clean, sparkling jazz to dark cool jazz, to crisp gospel, to classic 70's stack, to jackhammer shredding at will (after taking the time to program the sound). Time savings in the studio are incredable. DO NOT PLAY AN ACOUSTIC THROUGH THIS THING UNLESS YOU HAVE NO OTHER CHOICE OR ARE EXPERIMENTING--IT'S MAKE FOR ELECTRIC GUITARS.

I also have a Flextone combo which freaked out on me once--memory settings just disappeared. Since then, I've gigged with my combo for a year and a half with no trouble. Static? I'm comfortable enough that I'm going to play five concerts this weekend with my PRO--a thousand or so per show. After a week of practice with a sixty piece band and orchestra, I have no worries. I think the sound engineer is sending me secret love notes.

They've been good answering e-mails, but I haven't had much contact with 'em since they've gotten big. Judging from the features they built into this unit, they've been listening to their customers.

I play LOTS of styles for lots of different folks, and this thing helps me make any sound I want: rock, rockabilly, jazz, gospel, alternative, fusion. I wish it had a second channel for acoustic. I've been playing for 25 years, and this the best tool I've ever bought. There's nothing else out there that compares--even the Roland stuff, which is pretty good, but masks (my opinion) your guitar's real character. No way would I lose it, but if it were stolen, I'd buy another.

This rack-mounted red wonderbox is simple to use after you read the manual and discover the secondary positions used for the 2 main knobs.

I am using an amercian tele (91) and i bought a Alesis power amp to go with my 212 enclosed cabinet including 12 JBL's. I have a pair of Sheffields and some Line 6 custon speakers and i have swapped them all, over and over again. The damn thing has no heart, it has a GREAT reliability factor and tons of cool effects, but they are soul-less.. is there a "tone damper" knob on this baby? 8 for the cool effects and 2 for overall tone quality.

Everyone has played on weak knees knowing they might blow a tube at any given minute. I think the PodPro is as reliable as the next thing. Seeing as my Ax212 burned to cinders onstage one night, i tend not to rely on anything much.
Also, the reason i bought the PodPRo was because the AX212 had some really decent basic tones and great effects.. it was just too heavy and cheaply built, so i decided to go with the rackmountable version.. i should have just bought a Fender Evil Twin...

Well, when my AX212 burned to the floor.. i called and asked about the rackmount version.. and they said " we have no plans of making a rackmount of any kind" . then a few months later, i saw this PodPRo..
Not only did they dismiss my amp burning as "the way things go" but they also lied to me about the Pod.. oh well.

I bounce from act to act, so i normaly play whatever is on the menu.
i have been playing for i guess 10 years full time now and i have never been so ashamed of my tone. I tend to keep the things i buy for personal reasons and im glad i have other amps to fall back on but the next time i feel like i want a top-notch rig in a simple carrying case.. ill buy a stomp box carrying unit and a REAL amp.

I bought this after trying the bean POD 2. It's very simple to use. You can edit a patch quickly, and save it in a moment. The manual (only in english) is user-friendly and sometimes funny to read.

I use it direct from XLR output in my band 16 Kw P.a. For the stage I plug it into a Marshall Valvestate P. Amp. 80+80 , with a 2*12 1922 Marshall Cabinet. It's great. I love all the emulation: it's great Mesa Rectifier emulation.... my sound out of the 16 Kw PA is like a wall of stacks.... also with Marshall Jcm 800 emulation....

I can't say. I own it by only 2 weeks.

The site line6.com is great. There I found several good patches for my POD

I play any kind of music, from blues, to rock, to dance, disco...ad for folk Italian music. It's my definitive solution. I like it because it's like having 30 amps in a box. No heavy weight (I used before a Marshall stack.... breaking my back....)

Ease of use? It's so easy to change your tones, just a few turns of a knob. It might be so easy because there are not a lot of "effects" on it, mostly just amp tones. The manual mode is simple to use, no problem at all.

Im running my Schecter 7 string into it, then out to a Mesa\Boggie Nintey\Nintey power amp. I crank this beast all the way up using the Line 6 Insane setting, the distortion is amazing. All those products that people say are heavy as hell and then suck are put to shame by this unit. I can have this thing give me the heavy tone I need to play Slipknot, Deftones, and Soulfly.... Then I can go right back to the Amp Mod dial and get a sound like Dave Mathewes(however you spell it, he sucks anyway) or get a classic rock tone. All the mods sound perfect, one of the most realistic is the Vox 30.... Sounds just like the real thing!!!! And the cabinet simulator kicks ass!!!

This thing is the most dependable peice of equipment I have ever used. Not only can you use it in the studio(it was made for that), but it sounds great on stage, and I wouldn't even think about a backup.

I wanted to know more about downloading patches from the net, and they helped me through the whole process. You guys are great, Line 6!!

Just buy the thing, its worth it and a lot of professionals use it. Hook a good multi-effects unit to the loop and you are ready to go pro!!!!

Easy to use... As long as you think like a POD head
I like the humorus vibe in the manual. They seem like real musicians not technicians ie:Roland

I tried various guitars/pickups and it does react very nice with subtle input levels. You really shouldn't get hung up on the "is it better than a real amp" issue. It has a has some pretty close sound alikes but if you have experience with real marshalls and fenders you obviously already know it's how it "feels" versus how it"sounds" that makes the difference.

I already broke one of the toggle switches

I've been a pod fan ever since amp farm so I was excited to see a unit I could put in my live rig. But I think they fell short on a few things.Not enoug presets for live musicians who play over 3 sets a night. No control over the effects loop as far as activating it and level control. It seems slow changing from preset to preset.Maybe it's faster with Line 6's pedal board but I use ground control for switching and CC's . We need characters not numbers for our presets. The output options are a nice touch though.

I am a Pod V2.0 user who traded up to a Pod Pro, then quickly returned it to get my kidney bean Pod back. This review will compare Pod V2.0 (which I love) vs. Pod Pro (bad investment):
Features: The following features attracted me to the POD Pro:
1. 24 bit A/D coverters vs. 20 bit, and scads of connection options for getting the sound out.
2. Pod Pro has stereo effect out loops, which is a great feature except they require 1/4" stereo plugs in and out. This is a pain and an extra investment in cables.
3. A dry out jack, so you can record unadulterated guitar to a track, and play with the sound during mixdown - a very nice feature.

Other than that, the Pod Pro offers no more or less than the Pod 2.0. This makes it very hard to justify the price tag.

Again, Pod 2.0 vs. Pod Pro:
The 24 bit A/D converts do add to the dynamic range of the amp/cabinet sounds, but something bad happens in the effect processing. For example, on preset 5A - Modern Hi Gain, there are distracting "beats" that sound on sustained single notes, like two out of tune strings. Another reviewer calls this "Stuttering". This is present to a minor extent on Pod 2.0, but it totally dominates the sound on Pod Pro to the point of rendering it useless. The chorused and stereo delay effects are almost mono on the Pod Pro. With Pod 2.0 you can get some lush stereo images - these are not possible with Pod Pro. They claim it is the same chip, but something is happening with the processing that negatively impacts the sound. Compare preset 2D - Line 6 Layer to see what I mean.

Only had it for one day before I returned it.

I purchased this from Sam Ash in Lombard, Il, and they were excellent! They let me return a perfectly functioning piece of equipment simply because it did not sound right to me. My major problem with Line 6 is the failure on their website to effectively list the features of the Pod Pro. They let you guess about it's capablilites, and in my case I got burned. They need to seriously evaluate what they are selling as their PRO line. A $350 Pod V2.0 outperforms their $600 pro line rack unit. They are ripping people off with the Pod Pro.

A bad rating for a product not worthy of this company. The Pod v2.0 is revolutionary, the Pod Pro is a ripoff. To be a true pro model, they need to take the unit they have and upgrade the effects package. A pro model should have:
1. The ability to chain ALL effects, in any order. This means being to run Chorus and the Compressor at the same time.
2. True 24 bit stereo effects, with the ability to manipulate all effect parameters.
3. A true pre-amp - meaning allowing adjustments to the line input level to account for different pickup strengths.

If you are trying to decide between a Pod and a Pod Pro, buy a kidney bean Pod, and with the money you save, buy a floorboard and a separate compressor (such as Blue Max by PreSonus).

I am a Pod V2.0 user who traded up to a Pod Pro, then quickly returned it to get my kidney bean Pod back. This review will compare Pod V2.0 (which I love) vs. Pod Pro (bad investment):
Features: The following features attracted me to the POD Pro:
1. 24 bit A/D coverters vs. 20 bit, and scads of connection options for getting the sound out.
2. Pod Pro has stereo effect out loops, which is a great feature except they require 1/4" stereo plugs in and out. This is a pain and an extra investment in cables.
3. A dry out jack, so you can record unadulterated guitar to a track, and play with the sound during mixdown - a very nice feature.

Other than that, the Pod Pro offers no more or less than the Pod 2.0. This makes it very hard to justify the price tag.

Again, Pod 2.0 vs. Pod Pro:
The 24 bit A/D converts do add to the dynamic range of the amp/cabinet sounds, but something bad happens in the effect processing. For example, on preset 5A - Modern Hi Gain, there are distracting "beats" that sound on sustained single notes, like two out of tune strings. Another reviewer calls this "Stuttering". This is present to a minor extent on Pod 2.0, but it totally dominates the sound on Pod Pro to the point of rendering it useless. The chorused and stereo delay effects are almost mono on the Pod Pro. With Pod 2.0 you can get some lush stereo images - these are not possible with Pod Pro. They claim it is the same chip, but something is happening with the processing that negatively impacts the sound. Compare preset 2D - Line 6 Layer to see what I mean.

Only had it for one day before I returned it.

I purchased this from Sam Ash in Lombard, Il, and they were excellent! They let me return a perfectly functioning piece of equipment simply because it did not sound right to me. My major problem with Line 6 is the failure on their website to effectively list the features of the Pod Pro. They let you guess about it's capablilites, and in my case I got burned. They need to seriously evaluate what they are selling as their PRO line. A $350 Pod V2.0 outperforms their $600 pro line rack unit. They are ripping people off with the Pod Pro.

A bad rating for a product not worthy of this company. The Pod v2.0 is revolutionary, the Pod Pro is a ripoff. To be a true pro model, they need to take the unit they have and upgrade the effects package. A pro model should have:
1. The ability to chain ALL effects, in any order. This means being to run Chorus and the Compressor at the same time.
2. True 24 bit stereo effects, with the ability to manipulate all effect parameters.
3. A true pre-amp - meaning allowing adjustments to the line input level to account for different pickup strengths.

If you are trying to decide between a Pod and a Pod Pro, buy a kidney bean Pod, and with the money you save, buy a floorboard and a separate compressor (such as Blue Max by PreSonus).

It's got everything you can dream of: see other reviews

Doesn't sound 100% like the originals, but... at least 95 %. Not happy? Well, if you've got 50.000 bucks in your pocket... just go for it: buy all the originals!

Never broke down. It's in a rack, together with FXs, and HIFI power amp.
I read that the floorboard is crap. It's probably true, that's why I didn't buy it. Don't, either: just go for any good midi floorboard.

No idea: never needed them.

Perfect, imho. If you're not pennyless, here's a suggestion. Rather that any Flextone II (good machines, however), go for a POD PRO in a rack, connect it to some cheap powerful HIFI amp, and some speakers - your hifi system at home, something more powerful on stage, and you're done. But remember: the sound (in fact, ears frequency response) changes when you're louder, and depending on the room. My trick is: insert a (cheap, you're no Steve Vai) EQ in the effect loop, re-equalize for the room and the volume, and... you'll always get the same sound for the same settings.
AND: midi-connect it to a decent computer, for absolute flexibility and programmability; go for a second-hand portable.
Killer setup, imho.

THE POD PRO I OWN WAS MADE IN 2000. I GOT IT FOR CHRISTMAS. I LOVE HEAVY METAL, EPSECIALLY 'METALLICA', SO WHEN I WANTED A DUAL RECTOFIER AND COULD NOT AFFORD ONE I SHOPPED AROUND AND FOUND THAT THE POD PRO MODELS THE HI GAIN SOUNDS OF THE DUAL RECTOFIER. IT HAS 33 CHANNELS, CHANNEL SWITCHING, AND AN EFFECTS LOOP. HEADPHONES SOUND GREAT THROGH IT. I HAVE USED ALL OF THE FEATURES BUT I WISH IT HAD PHASER EFFECT IN IT. I USE THIS AM IN MY ROOM AND WITH MY BAND. I USE IT THROUGH A SAMSON SERVO POWER AMP AND A MARSHALL 1936 2X12 SPEAKER CAB. I ALSO USE A MORLEY PRO WAH.

THE PICKUPS ON MY GUITAR ARE STANDARD FENDER 3 SINGLE COIL PICKUPS. LIKE I SAID BEFORE I LOVE METAL LIKE METALLICA AND PANTERA SO I LIKE TO USE THE RECTIFIED CHANNEL. I WISH THE CLEAN TONE SOUNDED BETTER. THATS THE ONLY SOUND THAT I DONT LIKE ON IT. ANOTHER ONE OF THE MANY THINGS I LOVE ON THIS AMP IS THE NOISE GATE. I CAN TURN UP THE GAIN AND OUTPUT ALL THE WAY AND GET NO FUZZ OR BUZZ.

I THINCK THIS AMP WILL LAST ME AT LEAST 6 MORE YEARS. I WOULD DEFINANTLY USE IT IN A GIG WITHOUT A BACKUP. THE AMP HAS NEVR BROKEN DOWN YET.

I HAVE BEEN PLAYING GUITAR FOR A LITTLE OVER A YEAR. I OWN A FENDER SQUIER STRAT,A SAMSON SERVO 260 POWER AMP,MORLEY PRO WAH,BROWNSVILLE 15GR,AND A MARSHALL 1936 2x12 SPEAKER CAB. IF IT WERE STOLEN OR LOST I WOULD PROBABLY REPLACE IT WITH ANOHER ONE OR A MARSHALL JMP 1. I LOVE THE SOUNDS ON IT. I HATE THE I CANT CONTROL DEALY TIME OR THAT IT HAS NO PHASER.

Amp and speaker modeler, very versatile. 32 amps in a box with over a dozen speaker cabinet configurations.

It's not easy to use from the front panel. In fact, for about half of the standard settings you need two hands: one to hold down the "tap" button and the other to turn the dials. Even then, there are functions and effects that are completely inaccesable from the front panel - I mean COMPLETELY. You need to use SoundDiver (included) and a MIDI connection from a computer to access these. TERRIBLE design from an ease-of-use standpoint. Much easier to configure all sounds and settings in SoundDiver.

I use a PRS CE24, G&L ASAT and G&L Legacy. I use the Pod Pro in my studio only, and it sounds like the world's best amps. The clean sounds are the best, I feel. The distorted and overdriven sounds lack the punch and gut-feel of the real thing. But in a studio setting, you can't tell. The chorus, delay and flange effects are excellent. Swell and reverb are so-so, the rotary effect is blechh.

The only drawback is that the "line input" in the back is really just another guitar input. Line levels, even the quietest -10dB signal, drive it into clipping territory before you can blink. I have to set the outut levels of anything going into it ridiculously low, like "2" or lower, so I don't get the full "juice" of the signal. It's really a stupid design. How hard would it have been to include a balanced +4dB input? How much would it have cost?

Line 6's qulaity control is abominable. The first two units I received from Sweetwater were totally inoperable right out of the box. On the first one the knobs barely turned, and when plugged in it yielded nothing but loud static in the left channel. The second unit just didn't work at all. Two lights lit up on the front panel, but the read-out display remained black. After four weeks of back-and-forth (no cost to me), I got a third unit that worked OK.

The built-in tuner loses its calibration sometimes. The only way to fix it seems to be to re-initialize the unit, which destroys all your user presets. Highly recommend using Sound Diver to store your presets on computer.

Despite its drawbacks, which are considerable, the Pod Pro is a great studio tool. There is really nothing else like it, short of shelling out hundreds of thousands for all the vintage amps it models so well. Other similar products might sound good, but they do not capture the feel of the original amps as well.

But if someone comes along with better functionality and better quality control who can nail the software modeling as well as Line 6, Line 6 will probably have to shut down or sell.

I've been using an Ibanez s guitar with humbuckers when running into the podpro. It gives me a very broad range of tones(stratlike to paullike)so I have a very good idea of how well other guiatars work with this unit. I'm a session guitarist, so I need to be able to pull a variety of tones and styles out of my hat. I found that the podpro pulls this off excellently. The blackface(fender) sims are very realistic, organic and warm. They react in the same manner as tube amps, compressing and distoting the harder the amp is pushed. I found that the podpro does a remarkable job of generating semidistorted, R&B tones. It's really the only moddeling device that I have used that has been capable of this. In addition to cleaner settings, the podpro really impressed me with its modern distortion settings. I like to play very Joe Satriani-esque leads, and the soldano simulation pulls this off briliantly, producing smooth sustaining gain. I have yet to find a guitar tone I can't nail with the podpro. Using the podpro as a direct recording device is easy, and produces amazing results. When I bought the podpro, I found it hard to believe that it would sound absolutly indestinguishable from a real miked up cabinet, but the truth is that it does. I've had numerous recording engineers listen to the podpro, and they can't even tell a difference. Also, in direct recording, the podpro is dead quiet, and the outputs have a very clean sound. I can't detect even the slightest bit of hiss from the unit. I also use the podpro in my live rig, combined with an Alesis Quadraverb plus for effects, a Carvin HT150 for power amplification, and a Carvin Legacy 4X12 speaker cabinet. Using the podpro's cabinet tunning mode, you can easily adjust the overall color of the unit to work better with a particular speaker settup. "tunning" the Podpro does require some experimenting with the different modes. I actually use the unit's mode that is intended for use with a 1X12 cab, because it actually fattens up the sound of the podpro. Live, the podpro sounds better, and more satisfying than anything I've ever used or tried out, including expensive tube amps. Some of the higain amp models are slightly noisy at higain settings, but not any noisier than the real amps are under the same conditions. This really isn't an issue however, because the podpro has a very good noise gate built in, which can be completly adjusted through use of the midi software included with the device. The noise gate works very well, being completely undetectable and smooth. Effects have also been included on the podpro. They sound very nice for subtle effects. I prefer to use an external processor so I can utilize EQ and get more extreme sounds when needed. Remember, finding the tone you're looking for on this type of device may require some experimenting. Also, when auditioning this piece of gear, if you want a particular sound out of say a fender amp simulation, you must use the knobs(treble, mid, bass, drive, etc.)the same way you would on the real amp.

It hasn't broken, and I don't exspect it to. Very sturdy.

Ive gotten help within 48 hrs when I needed it.

The podpro actually does more than it claims. Better than the hype.

This is a followup review from a previous one. After using this unit for about 6 months (3-4 times/week), I hope I can bring some observations out that hasn't been mensioned yet in previous reviews. The POD PRO is a rackmount unit running v2.0 firmware. Its Analog to Digital and Digital to Analog converters are 24 bit where the original POD was less (either 16 or 20). The main rotary knobs that are on the front are Amp model selection knob, effects knob, drive, bass, middle, treble, channel volume, reverb level, effects tweak, and output. Some of these models are emulations of just a certain (most used) channel of a particular amp, and not the entire amp. Also from amp to amp, the tone controls will act differently because each of those are modeled to change the tone as the ones on the actual amps do. The reverb level is active all the time and if you want it off you just turn it fully counter-clockwise. I do wish all 32 amp models were accessible with one large knob but instead you have access to only 16 normally and with the tap button held down you can turn the knob for the other 16 amps, which are not marked on the faceplate,....YOU HAVE to have your manual handy for this,....at the very least, Line 6 should have silk screened the second set of 16 amps in small letters under the main amps, like they did the effects knob which doubles as the amp cabinet knob when you are holding down the tap button. I would still rather have one large knob with 32 separate positions. I would also like to see the effects on one knob and the amp cabinets on another. This really doesn't affect the operation of the POD too much but I think it's worthy of deducting a point. More knobs means more cost and more things to go bad but I think I would be willing to take the chance. Another huge gripe of mine is the fact that Line 6 SOLD OUT as in a similar sell out like people accuse Metallica of doing! In this case I really think Line 6 SOLD OUT to all the I WANNA HEAR THE POD THRU MY AMP TYPE OF PLAYERS. The whole entire POD concept began as the ultimate DI (direct injection) for mixer boards, 4-track,16-track, computer sound boards, whatever, etc...... I guess they saw a market (and much higher sales) if they included features for live players to try and tune this thing so that they could use it with their marshall or fender, or whatever,....To get these realistic emulations from a POD, it really relies, almost begs you to hook it up to something that does NOT (and I mean NOT!)add any more tone color. Something that would NOT add much tone would be a solid state power amp and full range (20Hz-20KHz Infinity stereo speakers!...... You are just asking for MUD, NOISE and DISSAPOINTMENT if you hook the POD up to anything else. If you absolutely have to and you must hook a POD PRO up to a guitar amp, use the effects return as your IN. This bypasses the amp's preamp stage and hits the poweramp stage with POD'S already colored up and emulated signal,...If you hit your amp at its preamp input (the normal inputs) you are in effect, hitting a preamp with a preamp (the pod is really a preamp) and you are inviting MUDDY crappy tone to your stage, unless you like lousy muddy crappy tone. Even by sending the POD to the effects return and bypassing the amp's preamp, you still run the risk of the tone being altered by the speakers which most good guitar amp speakers contribute to the tone greatly and do add the final coloring,....Your final tone may not sound like the emulation at all but it still could sound good so just be aware and know you are on highy experimental grounds when putting the POD PRO in LIVE mode and hooking it up to guitar amps,.....Because I have no mercy, I am taking another point away for just including the LIVE/Studio switch. The POD PRO should be hardwired internally for only STUDIO. ALL signals coming out of the POD should be fully emulated right down to the speaker cabinet that you selected. A large warning sticker s

The sounds/tones that you can record to tape or hard drive are awesome!,..Have you ever taken your amp and tried to mic it up and get its great sound on tape? It's not as easy as it seems and what about that amplifier hum?,....The POD gets you great professional tones (without hum) that record to tape or hard disk or whatever just like you are hearing them through headphones or monitor speakers. If someone is getting noise or lackluster results on tape, then they are doing something wrong,.....When recording, there are many areas left open for error and it does happen,....make sure your output knob on the POD is cranked up fairly high (3 o'clock is good) and keep the channel level up as far as possible also,..This keeps your signal to noise level very good. As far as sound out of an amp, it depends on who you talk to,...there has been some that get great tones live, and on stage, and from real guitar amps and speakers (via POD) and there are others that didn't and write reviews complaining of how muddy and sucky and unlively their tone is and how much of a piece of junk the POD is. By the way, if you are serious about tone and want your guitars inherant characteristics to come through, don't mess with the bean shaped pods,...They use converters that are less than 24 bit and really a guitar's siganl is full of information (fundamental freq, harmonic content, etc,....and if you produce digital words that are less than 24 bits long, you are loosing some of your guitar's subtle and possibly signature tones,....24 bits a/d and d/a converters is very very acceptable but In my opinion, this is where professional sound starts and I would like to see future models of POD move up to 32 or more bits,.....I am not sure what sampling rate they use but apparently they are fairly high,.....well whatever they are, again they are very acceptable, but if they got the means, they should increase them as well on future models. I have had different tube amps (still have one) which I play and enjoy,.....I play an American Standard Strat (hard tail) and it has a certain subtle thing about it that I can hear no matter what real amp or POD PRO emulation I use. I will give the rating of a 10 here because the POD really shines in this department. In my opinion, it really won't get much better than this, only different. I do however recognize that there is possibly some slight chance that it could get better,....There are some guitar tones that just can't be done on the POD,.....Mega distortions are chimp easy to get, as well as clean ones too,....I have had to work with and play with the POD for months now before really getting workable blues tones and strangly enough hard/classic rock (70's ish) sounds,.....I am really picky and for a while I just didn't have the presence that some of these guys get in a studio with real amps cranked up loud. What I mainly did to get these tones was get analog pedals. Many players get specialized pedals for their real amps and the POD is no different,....As I stated, I play a strat and I found that I was just not driving some of these amps hard enough with my strats relatively weak pickups,.....After getting a fulltone's fulldrive2 overdrive pedal, I was able to hit some of these amps harder and make them come to life. I blame this on my strats inherently beautiful but noisy and weak pickups. I also found that with my hard tail strat, the Dallas Arbiter FuzzFace emulation on the POD was just too woofy/bassey/muddy and a budda wah+ pedal gives me control over my guitars signal hitting that emulation, so that I can focus it just like I need it(I just set the wah and leave it in a certain position........I always use high quality pedals, only professional pedals with true bypass or I won't even consider trying it out (a little closed minded but I really appreciate true bypass pedals, sorry) By the way, the insane emulation is amazing with how well you can feel the actual cabinet resonate and growl. When I am

Knock on wood (rap rap rap), I have never had a digital glitch, lockup, etc,......I got one of the earlier ones, probably when they were keeping a close, close eye on the manufacturing process,......

Its been a while since I called,......Admittadely I only had questions and no problems,.....I never and I repeat, NEVER got my calls returned,.....I am sure they are busy and hopefully if you have a problem, they will return your calls

Going to give them a 9 here, It will be very hard to make a noticable improvment but I think it is possible,......for what this unit is designed for, it does a very good job.

Email me if you have any questions. I like talk POD! Sorry to others that emailed me on my last review and didn't get a response,...My email has changed since then.

FOR spam reasons, I am not going to list my email address here,....Go to http://www.blueridgetrader.com and click on EMAIL THE WEBMASTER....

The features are excellent, IMHO. Then again, a two-channel head has good features to me. The bottom line is that you are one switch away from playing it either live or in the studio. The SoundDiver software is very, very cool and so is the patch exchange feature. To be honest, I thought the presets that came stock were pretty weak. One trip to the tone transfer library and I found exactly what I wanted. If it weren't for the patch transfer, I would have sent it back... Read on and you'll see why...

I play rock and roll, some jazz, and whatever else anyone wants to pay me to play. The Marshall, Boogie, and Soldano sounds are tremendous. They breathe and thump. As for the other Class A and blues/jazz (or really jazz/blues) sounds, I can't really comment because I haven't played with them that much.

The factory presets left me flat. In fact, I went home with great expectations when I heard that the unit had been delivered, and came very close to putting it back in the box for return by about 2 a.m. The headphone sounds were, well, solid state sounding, and I was very underwhelmed. Once I set up SoundDiver and grabbed other presets, my entire opinion changed.

Today, I set up my live rig, and dialed in all my midi presets. I dragged out my old X-15 ART, which I thought I would never, ever, ever use again because I'm a reformed rack user (I used to have a rack that was only missing an espresso machine and a microwave). I will buy the Line 6 floor board, but for now the X-15 works just fine. I'm running the Pod Pro into a Marshall 9100 tube monobloc power amp into a couple Marshall 4X12s with Celstions and it simply roars. The Mesa and Marshall sounds in this setup just tremendous. Very, very impressive.

But...

I can't get a clean sound out of this thing. I've tried the other presets and followed everyone's advice, but it still drives. Also, as others have complained about, I'm getting this weird hum. But then again, I never got a decent clean sound or avoided a hum with any amp I've owned, including countless Boogies, Marshalls, 5150s, and even my trusty old Sovtek (don't laugh, it is a brutal, brutal amp). I'd give it a 10 if it weren't for the honky clean sounds and the fact that some of the Class A sounds don't give me the immediate wallop that a real one would. I'm not complaining, though...

Can't say. Just got it. It will break, just like everything else. It will freak out on a gig, and it will do crazy things. That's why I always have a 100-watt tube amp in the back.

Sent them one e-mail. They responded in 12 hours. The web site is incredible, and the peer support is unmatched. Almost like a cult. Considering the fact that the company had enough foresight to set up the tone transfer and the very deep FAQ, I have to give it a good rating.

I bought my Pod Pro at Guitar Asylum for $499. The response from that store was as good as I've ever found, having bought a ton of gear over the past 20 years. Very cool guys. I compared this preamp with lots of others, name one and I've either looked at it or owned it. It beat them all hands down, and every other pro I know is selling their gear because they just picked up either a Pod or a Pod Pro. If it were stolen, I'd buy another one. I still like tube heads, and I'll let you know if this thing passes my Marshall test (will it work on the job, every time?).

It is what it is. This is a preamp that gives you really good sounds, if you like the sound that it offers. This is an innovative product, but it won't do everything. Line 6 was very smart in avoiding the Digitech trap, which means it avoided trying to put all kinds of crazy things into what basically is an amp modeler. There are no harmonizer presets (buy an Eventide if you want that), but the basics are there.

BTW, nothing gets a 10 in this category.