Also, in cases where the recorded bass performance is good, but the sound poor or simply inappropriate, the DI track can be used to rescue the situation by re‑amping - sending the signal from the recorder out to a bass amp and then returning the miked‑up sound to the console. Although the DI signal on its own will usually be clinically clean and lacking in character, it can often prove useful during mixing to add articulation to the miked sound in a way that EQ never can. Back To BassĪlthough it still has the two output jacks of the guitar Pod, the Bass model's output signal is mono rather than stereo - the second output jack is used to provide an unprocessed DI feed which can be recorded separately. A further EQ stage is available, in the form of a post‑amp‑modelling parametric which proves very useful for additional fine‑tuning and tweaking without changing the fundamental character of the sound. Continuing the arc of controls across the top of the unit, there is a standard three‑band EQ line‑up that changes its character to mimic the controls on the amp being modelled. A second 16‑way rotary switch gives access to 15 bass effects, including emulations of famous stomp boxes and rack units - the sixteenth position is bypass, where I suspect it will remain firmly fixed on a lot of Bass Pods.Ī Drive control sets the basic sensitivity and, where the original amp would have allowed this, there is enough range for you to dirty up the sound a little at higher settings.

Like the guitar version, the unit can be run via presets, or in Manual mode where all controls are 'live', allowing the user to select from a range of well‑known bass amp/cab models (all fully identified in the manual) via the 16‑position rotary control on the front panel. The case colour, however, is metallic grey to provide a clear differentiation between the guitar and bass versions. The basic hardware for the Bass Pod is identical to the regular Pod, both internally and externally, the only differences lying in the operating software and the legending around the controls. Indeed, it could be argued that the bass model actually addresses an even more pressing need, as the instrument itself is inherently more difficult to record to a high standard. It was entirely logical that a dedicated bass unit should soon follow in the footsteps of the original ground‑breaking Pod guitar processor. At last, an easy way of consistently getting a polished, 'produced' bass guitar sound in your recordings! Dave Lockwood tests a physical modelling processor that bass players and engineers alike will welcome.

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