Based on the modelling algorithms of Line 6’s Helix processors, the company’s POD Express comes in a stompbox format and has a very straightforward user interface. There are dedicated bass and guitar versions, and it’s the latter that I’m reviewing here. It offers seven amps and cabs and 17 effects (including a looper that’s engaged using the Delay knob), and there’s the option of powering from either a 9V PSU or three AA batteries.
Dual footswitches access bypass, tap tempo, a tuner and presets. The POD Express has stereo outputs as well as a control input that can take one pedal or two switches, plus there’s a USB‑C interface used not only for firmware updates but also to allow the pedal to be used as an audio interface. The USB 2 interface operates at 24‑bit/48kHz, and there’s a low‑latency ASIO driver for Windows users. It works in class‑compliant mode without drivers on a Mac, and the interface can also be used with Android and (using a suitable adaptor) iOS devices.
The use of a rugged plastic case rather than a metal one keeps the weight down. The controls and footswitches are on top with the jack, USB‑C and power connections on the rear, while there are a 3.5mm TRS headphone jack and thumbwheel volume control on the left side panel. Note that although the volume of the various presets can be set using the main controls, the aforementioned thumbwheel also controls the overall line output levels, so it’s easy to optimise levels when recording or playing through an amp.
The I/O are on the rear, including a USB socket that allows the pedal to function as a stereo audio interface for Mac, Windows, Android or iOS devices.
The controls are arranged as four rotaries for Dist(ortion), Mod(ulation), Delay and Reverb, each divided into four quadrants. The effect’s level is governed by how high the knob setting is within its quadrant. In the centre is the model selector knob, surrounded by an LED ring and incorporating a push switch, and below this is an Alt button. Hold down Alt and the model select knob controls channel volume. Alt is also used to save presets; there are 21 preset slots available, and the current one is indicated by the LED ring and LED colour. The LED ring also shows various values when editing sounds.
Pressing and holding both footswitches takes you to preset select mode, and the preset is indicated by the corresponding Amp LED ring segment illuminating. The footswitches or the Amp knob can then be used to move through the presets, which can be set to switch immediately or be cued, so that they engage when pressing both footswitches. Pressing and holding the Amp encoder enters save mode. There are some global settings, including the queue mode, the external pedal/switch functions and the behaviour of the On footswitch, which can be a full bypass, all effects and noise gate on/off, or an individually chosen effect type on/off. That last options is useful if, for example, you just want to be able to switch the distortion or boost in and out without changing anything else.
The looper has a maximum 30s loop length, is stereo and comes at the end of the signal chain, so that loops can include stereo effects. The noise gate doesn’t have dedicated controls, though its Threshold and Decay settings can be adjusted via a ‘press buttons and twiddle knobs’ routine as covered in the manual.
The amp models start with Clean and work their way up to Lead, via Special, Chime, Dynamic, Crunch and Heavy, and the amps that inspired them are listed as a Fender Princeton Reverb, a Line 6 Litigator (a boutique‑style amp), a Matchless DC30 clean channel, a Ben Adrian Cartographer, a Friedman BE‑100 BE/HBE Channel, a Line 6 Oblivion and a Peavey 5150. Turning the Amp knob to point straight down switches off the amp and cab modelling, turning the POD Express into a regular multi‑effects pedal for use with your usual guitar amp.
The clean amp sounds have a good ‘feel’ and don’t come over as stiff or sterile.
The clean amp sounds have a good ‘feel’ and don’t come over as stiff or sterile, while the ‘touch of hair’ sounds work well for blues and Americana. Chime produces a nice Voxy flavour, while Crunch serves up some Marshall‑inspired authority. If you prefer heavy rock, then there are some useful options towards the end of the dial. The driven sounds exhibit a good sense of touch responsiveness and even with the heavier overdrive sounds, the character of the guitar itself doesn’t get overwhelmed and note definition is still retained.
You won’t be disappointed by the effects either, and though you have very limited control (amount and tempo), they’re all well chosen. It’s also worth noting that many of the effects are modelled on specific devices. For example, Boost is based on the fabled Klon Centaur, while Overdrive takes its cue from the Ibanez Tube Screamer. The modulation section includes a couple of MXR staples plus a Fender optical tremolo, while the delays take their influences from Boss and the Echoplex EP‑3, in addition to Line 6 originals. All the reverbs are Line 6 originals and offer the usual Hall, Plate and Spring emulations, as well as Space.
Verdict
Line 6 have managed to cram a lot of their latest modelling technology into this very affordable POD pedal — you might think of it as a Helix ultra‑lite in a pedalboard‑friendly format and, given that you can pay rather more for a boutique analogue distortion pedal containing only two or three transistors, I reckon it’s something of a bargain!
Information
$179.99