Line 6 POD HD500X Owner's Manual

POD® HD500x

ADVANCED guiDE

Rev A Electrophonic Limited Edition ©2013 Line 6, Inc.

Table of Contents

Overview ............................................................................................ 1•1

Home Views ....................................................................................................1•1

Tuner Mode......................................................................................................1•3

Tap Tempo .......................................................................................................1•4

Connections ....................................................................................................1•4

POD HD500X Edit Software ...........................................................................1•5

System Setup ..................................................................................... 2•1

Accessing System Setup ...............................................................................2•1

Page 1, Setup: Utilities Options .....................................................................2•1

Page 2, Setup: Utilities Options .....................................................................2•3

Page 3, Setup: Input Options .........................................................................2•3

Page 4, Setup: Output Options ......................................................................2•7

Page 5, Setup: S/PDIF Output Options .........................................................2•9

Page 6, MIDI/Tempo Options ....................................................................... 2•10

Page 7, Setup: Variax Options .....................................................................2•11

Page 8, James Tyler Variax Tuning Options ................................................2•16

Page 9, Setup: L6 LINK Audio ....................................................................2•17

Page 10, Setup: L6 LINK Control .................................................................2•18

Features & Functionality..................................................................... 3•1

FX Blocks .........................................................................................................3•1

Amp Blocks .....................................................................................................3•3

Mixer Block ......................................................................................................3•3

Moving FX Blocks ...........................................................................................3•4

Expression Pedal & Variax® Knob Controller Assignment ..........................3•6

FX & Amp Block Footswitch Assignment .....................................................3•9

Dynamic DSP ................................................................................................3•13

Set Lists & Presets ............................................................................. 4•1

Working with Set Lists ....................................................................................4•1

Working with Presets ......................................................................................4•4

Saving Presets .................................................................................................4•6

FX Edit Mode ...................................................................................... 5•1

Accessing FX Edit Mode ................................................................................5•1

FX Loop ...........................................................................................................5•4

Amp, Cab & Mic Models .................................................................... 6•1

Amp Model Positioning ..................................................................................6•1

Selecting Amp, Cab & Mic Models ................................................................6•3

Editing Amp Parameters .................................................................................6•6

Amp & Cab Edit Display .................................................................................6•6

Amp/Preamp Models ....................................................................................6•11

Cab Models ...................................................................................................6•14

FX Models .......................................................................................... 7•1

Dynamics Models ...........................................................................................7•1

Distortion Models ............................................................................................7•2

Modulation Models .........................................................................................7•3

Filter Models ....................................................................................................7•4

Pitch Models ....................................................................................................7•6

Preamp+EQ Models .......................................................................................7•8

Delay Models .................................................................................................7•10

Reverb Models ..............................................................................................7•11

Volume/Pan & Wah Models .......................................................................... 7•13

Looper Mode ...................................................................................... 8•1

Looper Footswitch Controls & Performance View........................................8•1

Looper Settings ...............................................................................................8•5

USB Audio .......................................................................................... 9•1

The Line 6 USB Audio Driver ..........................................................................9•1

The Line 6 Audio-MIDI Devices Panel ...........................................................9•3

Mac® - Line 6 Audio-MIDI Devices ...............................................................9•3

Windows® - Line 6 Audio-MIDI Devices.......................................................9•9

Appendix A: Line 6 Monkey™ ...................................................A•1

Launch Line 6 Monkey .................................................................................. A•1

Line 6 Variax Updates .................................................................................... A•3

Appendix B: MIDI ............................................................................... B•1

MIDI Input & Out/Thru .................................................................................... B•1

Bank & Program Change Messages ............................................................ B•3

Using POD HD500X as a MIDI Controller Device ........................................ B•5

Line 6, POD, DT50, DT25, Variax, James Tyler, StageSource, L6 LINK, CustomTone and Line 6 Monkey are trademarks of

Line 6, Inc. All other product names, trademarks and artists’ names are the property of their respective owners, which are

in no way associated or afliated with Line 6. Product names, images, and artists’ names are used solely to identify the

products whose tones and sounds were studied during the Line 6 sound model development for this product. The use of

these products, trademarks, images, and artists’ names does not imply any cooperation or endorsement.

Copyright © 2013 Line 6, Inc.

Overview

Overview

Welcome to the POD® HD500X Advanced Guide. This guide contains in-depth details
of the POD HD500X features and functionality. Please be sure to also read through
your POD HD500X Pilot’s Guide for basic info on POD HD500X and this Guide will take
it from there! In this chapter, we’ll present an overview of the main screens and features
to get you started.

This Guide covers POD HD500X with Flash Memory version 1.01 (or later) installed. Please use
Line 6 Monkey to check for and install the latest updates for your device - see “Launch Line 6

Monkey” on page A•1

.

Home Views

The place to start is in one of the Home View screens. Press the VIEW button to

SAVE

S

E

E

T

R

S

P

rotate through the 3 available Home Views. While in any of these Home View
screens, you can turn the

HOLD FOR SYSTEM & I/O

VIEW

Setlist, or push the

PRESETS knob to select from among other Set Lists!

Signal Flow View

The Signal Flow View displays all Amp & FX “Blocks” and their ordering for the current
Preset. As you’ll see in several of the following chapters, this is the screen where you’ll
“select” the desired Block to perform other actions, such as choose a new Amp or FX
Model, edit its parameters, move its position, and more.

Currently loaded Preset
location and title

Use the and Nav.
Disc buttons to select the
desired Block

PRESETS knob and call up a Preset in the current

Parallel Paths A (upper)
and B (lower) with Mixer
Block

1•1

FX Blocks within
“Pre” position

Amp Blocks Looper

FX Blocks within
“Post” position

The items within the Signal Flow View

The signal ow architecture of each Preset is comprised of 3 main sections where Amp

& FX Blocks can be positioned: Pre, Post and parallel Paths A & B.

Overview

1•2

At the bottom of the Signal Flow View screen, you’ll see up to four parameters that are
accessed using the Multi-function knobs 1-4.

Accessing parameters with the Multi-select Knobs

These parameters are specic to the currently selected Block and allow you to choose

new Models & edit parameters. Or, you can dive deeper in the Edit Mode and access
additional settings in other screens, as covered in the following chapters.

Performance View

The Performance View screen displays the FX and/or Presets that are currently assigned
to your POD HD500X footswitches. Footswitches

toggle FX On/O, or to select Preset channels (see “Page 1, Setup: Utilities Options” on

page 2•1).

FS5 - FS8 can be congured to either

FX assignment for FS1-FS8 ABCD assignment for FS5-FS8

These FX assignments for FS1 - FS8 can be edited for each Preset (see “FX & Amp Block

Footswitch Assignment” on page 3•9). When the Looper is active, the Performance

View screen displays a set of Looper functions (see “Looper Mode” on page 8•1).

Big User View

This screen simply provides you with one BIG display of the currently loaded Preset
number - convenient for dark stages!

The Big User View

Tuner Mode

To enter Tuner mode, press and hold the TAP button. A few options are available,
adjusted using the Multi-function knobs.

Overview

1•3

The Tuner screen

Pluck an individual string on your guitar and you’ll see the name of the note displayed.

When the graphic bar is to the left of center, your string is at; when it is to the right,

your string is sharp. When the bar is within the center range, triangles will appear
above and below it, indicating your string is in tune.

Overview

USB

PHONES AUX IN

L/MONO RIGHT TRS STEREO

FX RETURN

LEFT RIGHT

BALANCED OUTPUT

L/MONO R/MONO

UNBALANCED OUTPUT FX SEND

OUT/THRUINPUT

MIDI

OUT

S/PDIF

POWERGUITAR IN

PEDAL 2

LINE

STOMP

MIC LEVEL

CD/MP3

INPUT

L6 LINK

VARIAXMIC

9VDC 2.5A Min

CONNECT TO L6 LINK ONLY

• Reference (Knob 1): If you’d like to tune to a reference other than standard
440Hz, select from 425 to 455Hz.

1•4

• Audio (Knob 2): Select Mute to silence POD HD500X output while tuning, or
select Bypass to hear your guitar dry.

Press the

TAP switch, or any other footswitch, to exit Tuner Mode.

Tap Tempo

Tap Tempo is the term we use to refer to the “System Tempo” value that is
accessed via the

TAP button on your POD HD500X device. Stomp rhythmically

to set your Tap Tempo. Alternatively, you can set a numerical Tempo value

within Setup (see “Page 6, MIDI/Tempo Options” on page 2•10). This setting is

saved per Preset.

You’ll see the LED on the

TAP switch blink to indicate your current Tap Tempo BPM.

Tempo-based FX (Modulation, Filter & Delay FX) that oer a Tempo Sync parameter
can optionally be set to a note division of this Tap Tempo value.

Connections

Please refer to your POD HD500X Pilot’s Guide for descriptions of the rear panel

connections. You’ll nd more details on their specic uses within the following chapters

as well!

POD HD500X Edit Software

Be sure to visit line6.com/software to download the Line 6 POD® HD500X Edit
software - the free patch editor/librarian for Mac® and Windows® computers. Using
POD HD500X Edit and a USB connection you can easily create, audition, customize,
backup/restore and save an unlimited number of Tone Presets for your device. You
can even utilize POD HD500X Edit while simultaneously using the L6 LINK or MIDI
connections!

Overview

1•5

The POD HD500X Edit application

SyStem Setup

In this chapter, we’ll cover the options for conguring your POD® HD500X system
settings.

System Setup

Note that some System Setup options are “global” settings (they persist always, regardless
of the current Preset) while others are saved individually per Preset, as noted in the following
sections. You’ll want to be sure to save your Preset after changing settings of the latter type in
order to retain them.

Accessing System Setup

To access the System Setup options, press and hold the VIEW button. Here you can

congure several device functions, Input & Output settings and more.

SAVE

S

E

E

T

R

S

P

HOLD FOR SYSTEM & I/O

VIEW

Use the Nav. Disc buttons to navigate through the several Setup pages.

Page 1, Setup: Utilities Options

2•1

System Setup

2•2

The top portion of the screen lists the Flash Memory and USB Firmware versions

currently installed on your POD HD500X device. The lower portion of the screen oers

four options, adjustable using the Multi-function Knobs 1 - 4.

• Footswitch Mode (Knob 1): Congures the function of POD HD500X footswitches

FS5 through FS8 for either “Pedalboard Mode” or “Preset Mode” (see “Accessing

Set Lists” on page 4•1). This setting is global.

Note that you can reference all current footswitch assignments in the Performance View screen,
which will change its display according to the Footswitch Mode you choose here. See “FX &

Amp Block Footswitch Assignment” on page 3•9

.

• Amp Knobs Display (Knob 2): When set to “On,” allows the LCD screen to
momentarily display the actual Amp Tone Knob values whenever adjusting any
physical amp knob. This setting is global.

• Looper FS Display (Knob 3): When the

LOOPER footswitch is toggled On to

engage Looper Mode, the Performance View screen automatically changes to

display Looper footswitch functions (see page 8•5). This setting is global. The
two selections here oer the following behaviors when Looper Mode is active:

• All Views: Shows the Looper controls in the LCD regardless of the currently
selected View.

• Performance View: Shows the Looper screen as the Performance View screen

(and allows the 3 Home View screens to still be displayed when toggling the

VIEW button).

Note that the Looper display’s icons represent what each footswitch will do when pressed, and
not the function that the Looper is currently performing.

• Trails (Knob 4): When set to “On,” allows the echo repeats and/or decay of Delay

and Reverb FX to continue when the Model is toggled O. With the Trails option
“O” the decay is muted instantly when toggling the Model O. This setting is

saved per Preset.

• The FX Loop also utilizes Trails - bypassing the FX Loop with this feature

enabled causes the Return to remain active while the Send is shut O.

• The Trails feature does not provide a “spillover” of the FX decay when changing
Presets.

Page 2, Setup: Utilities Options

The options at the bottom of the screen are as follows - all are global settings:

• LCD Contrast (Knob 1): Adjusts the screen’s contrast.

System Setup

2•3

• Tap Tempo LED (Knob 2): Choose “On” to have the LED light for the

footswitch ash to indicate the current Tap Tempo value. Choose “O” to have it

remain unlit.

• AC Frequency (Knob 3): All HD Amp Models include simulation of AC hum,
typical of the AC Vacuum Tube Heater component - an important part of the

tonality of a tube amplier. Set the AC Rate to match that of the USA (60Hz) or UK
(50Hz) frequency for authenticity. (This setting may be subtle depending on the

current Amp Model settings, and may be more apparent when synchronizing this

setting with the AC rate of any tube amplier that POD HD500X may be plugged

into.)

Page 3, Setup: Input Options

The Inputs Setup page allows you to select which of the device’s audio inputs are used
as the “source” – sort of like a built-in, programmable patchbay. There is also a control
which adjusts the Guitar input impedance.

TAP

System Setup

2•4

• Input 1 and Input 2 Source (Knobs 1 & 2) - Select the physical input(s) that
you want to be the “source” fed into the signal path. Note that you can choose
dierent Sources to independently feed each signal path, or choose Same to
feed a common Source into both paths.

• The Variax and Variax Mag Input Source options are provided for Line 6
Variax® guitars when connected into the POD HD500X Variax Digital Input

(VDI).

• With a James Tyler® Variax® (JTV), the “Variax” Input Source receives the
Model or Magnetic signal, depending on the JTV’s Model switch settings.* The
“Variax Mag” Input Source receives only the JTV’s Magnetic Pickup signal.

*Note: With a JTV in use, the “Variax” Input Source selection also recalls whether you were using
mags or models per preset, allowing you to pick up exactly where you left off – no need for
manual selection or input changes.

• If you own a rst-generation Variax instrument, it is recommended to choose
the Variax Input Source option. Please also refer to your Variax documentation.

• Guitar In-Z (Knob 3) - Select the input impedance of the Guitar input. This feature

aects tone and feel because your guitar pickups are being loaded as they would
be by an eect pedal or a tube amplier.

Note: The Guitar In-Z setting affects the GUITAR IN input only. Please see the Impedance Ratings
table at the end of this section to reference the input impedance of each individual model.

• The Auto option dynamically sets the input impedance to match the input

impedance of the very rst Amp or FX model in your POD HD signal chain.

• Or, you can manually select from a variety of impedance values from low to

high (22k, 32k, 70k, 90k, 136k, 230k, 1M, or 3.5M).
A lower value will typically result in some high frequency attenuation, lower
gain and overall “softer” feel. A higher value provides full frequency response,

higher gain and overall “tighter” feel.

• Inputs Setup (Knob 4) - Determines whether the other 3 options in this Inputs
screen are applied per preset, or globally.

• Preset - Recalling a preset will load the Input 1 Source, Input 2 Source and
Guitar In-Z parameter settings as last saved with the individual preset.

• Global - Once the “Global” option is selected here, the other three Input

options’ values on this Setup page (Input Sources 1 and 2, and Guitar In-Z) are

utilized globally, regardless of their values that are saved with each individual
preset. The Input values you choose on this Setup page are
then retained independently for the Inputs Setup - Global option. When you
change the Inputs Setup back to “Preset,” the Input options’ values saved
with each individual preset are once again utilized.

Note: Saving a preset while this option is set to “Global” will write the current global Inputs and
Guitar In-Z values to the individual, saved preset.

System Setup

2•5

Amp & FX Model - Guitar Input Impedance Ratings

Model Guitar Input Impedance (Ohms)

Amps & Preamps

All Amp & Preamp Models 1M

Distortion FX

Screamer 230k

Color Drive 136k

Buzz Saw 230k

Facial Fuzz 22k

Jumbo Fuzz 90k

Fuzz Pi 22k

Octave Fuzz 230k

All Other Distortion Models 1M

System Setup

Amp & FX Model - Guitar Input Impedance Ratings

Model Guitar Input Impedance (Ohms)

Dynamics FX

All Dynamics Models 1M

2•6

Modulation FX

Dual Phaser 230k

U-Vibe 90k

Analog Chorus 22k

All Other Modulation Models 1M

Filter FX

All Filter Models 1M

Pitch FX

All Pitch Models 1M

Delay FX

Multi Head 22k

Analog Echo 230k

Analog w/Mod 90k

All Other Delay Models 1M

Preamp + EQ FX

All Preamp & EQ Models 1M

Reverb FX

All Reverb Models 1M

Wah FX

Weeper 90k

All Other Wah Models 1M

Volume & Pan FX

All Volume and Pan Models 1M

System Setup

Amp & FX Model - Guitar Input Impedance Ratings

Model Guitar Input Impedance (Ohms)

FX Loop

FX Loop 1M

About Source Input Signal Routing:

It is important to note how POD HD500X actually routes Source Inputs 1 and 2 through
Amp & FX Blocks that are positioned “Pre” position. The following behaviors apply:

• In a conguration with no Amp or FX Blocks in Pre, Input 1 is fed only to Path A

and Input 2 only to Path B. Therefore, this is the best conguration if you want to

retain discrete Input Sources into Paths A & B.

• Placing an Amp Block or an active mono FX Model in Pre results in a “mix-down”
of Input Sources 1 & 2, feeding the same, combined signal into each Path A & B.

• Placing a Stereo FX Model in Pre results in the left channel FX output being fed to
Path A and its right output to Path B.*

• The Mixer Block’s Volume and Pan options provide independent control for Path
A & B outputs before they are fed through any Blocks positioned “Post” the Mixer.

2•7

• By setting Input 2 to “Same,” this eectively routes your Input Source to both
stereo Paths A & B (which is how you can feed one guitar input into two Amp

Models and/or parallel FX, for example).

*Please also see “Model Types and Mono/Stereo Signal Routing” on page 3•5 for more
about how mono and stereo FX affect your signal chain.

Page 4, Setup: Output Options

The Mode setting on this page allows you to congure the type of signal fed to your
POD HD500X analog outputs

external amplier.

Note that this Mode setting affects the signal fed to several POD HD500X outputs: Balanced,
Unbalanced & Phones outputs as well as USB Record Send & L6 LINK audio outputs.

to optimize for direct recording versus connecting to an

System Setup

2•8

Knob 1 selects the Output Mode. This is a global setting.

• Studio/Direct: Typically the best option when connecting “Direct” to a mixing
console or recording device. This signal includes “Studio” Cab Models, Mic
Model and an “AIR” convolution to best emulate a mic’ed amp within a room.

• Combo and Stack settings: Optimizes your tone for connecting to an external

amplier. The signal includes “Live” Cab Models,with no Mic Model or “AIR”

convolution, with a special EQ curve added for each.

• Combo Front & Stack Front: For connecting into the front input of a typical
combo amp or amp head + external cab, respectively. When choosing either
of these Modes, you’ll see the following additional options for further tone
shaping:

• Lows (Knob 2): Attenuates the low frequencies.

• Focus (Knob 3): Increases the overall midrange.

• Highs (Knob 4): Attenuates the high frequencies.

• Combo Power Amp & Stack Power Amp: For connecting to the power amp of
a combo or head amp.

TIP: When using the Combo or Stack options and connecting into a tube amplier, we also

recommend that you choose a Preamp Model from the Amp Model menu (rather than one of the
“Full” Amp Models). HD Preamp Models include no power amp emulation, making them typically
better suited for this connection. That said, there is no wrong choice! PODs have always been about

exibility... Check out all the possibilities and decide which Models work best for your tone!

Page 5, Setup: S/PDIF Output Options

These options are strictly for conguring the signal fed to the S/PDIF OUT. Use this 24­bit digital connection when connecting to the S/PDIF input of other devices, such as a

computer audio interface or digital mixing console.

Note: When connecting to another digital device, it is best to clock the external device to
follow POD HD500X to maintain proper synchronization - please see your digital device’s
documentation for its digital clock features.

• S/PDIF Output (Knob 1): Selects the type of output mode signal: Match Outputs

(uses the setting as congured on the Setup:Outputs screen - see page 2•8)
or Dry Input (your Source Input signal with no Amp, Cab, Mic, “E.R.” or FX

processing applied).

System Setup

2•9

• Sample Rate (Knob 2): Selects the sample rate: 44.1kHz, 48kHz, 88.2kHz or
96kHz. When connecting to another device’s S/PDIF input, always be sure to set
both units to utilize the same sample rate.

• S/P Level (Knob 3): Increases the amplitude of the S/PDIF signal: 0 dB.

System Setup

2•10

Page 6, MIDI/Tempo Options

• MIDI Channel (Knob 1): Sets the “System” MIDI Channel that POD HD500X
utilizes for both receiving and sending MIDI communication via the MIDI DIN
Input/Output. Choose any individual Channel 1 - 16, or “Omni” for all Channels.*
This is a global setting.

*Note: The MIDI Channel selected here also affects the MIDI Channel settings utilized by L6 LINK

- see “Page 10, Setup: L6 LINK Control” on page 2•18.

• MIDI Out/Thru (Knob 2): Allows the MIDI Out DIN to be switched between a
MIDI Output versus MIDI Output + Thru.

• Tempo Sync (Knob 3): The “Speed” or “Time” parameters of all tempo-based

FX (Modulation, Pitch & Delays) can optionally be set to a note value to follow
the (Knob 4) Tempo BPM value. This Tempo Sync option is a global setting that

allows you to choose whether the FX follow the Tap Tempo as a per-Preset value
or globally.

• Preset: Tempo settings are saved and recalled on a per Preset basis.

• Global: Tempo information stored within any Preset is ignored. When saving a
Preset while this option is set to “Global,” the current tempo value will be saved
with the Preset.

• Tempo (Knob 4): Enter in a specic “Tap Tempo” for your current Preset (as
opposed to stomping rhythmically on the
individually per Preset.

TAP footswitch). This value is saved

Page 7, Setup: Variax Options

Setup Page 7 - No Variax connected Setup Page 7 - James Tyler Variax connected

As illustrated above, Setup page 7 will display additional, model-specic options when

a Variax instrument is connected to the POD HD500X

Variax family and its rmware version are displayed at the top right of the screen when

the Variax is connected.

Available options and behaviors displayed will dier depending on the Variax type and

model you have connected, as described in the following sections. With any Variax
connected to the VDI input, the Knob 1 option functionality is as follows.

• Variax Control (Knob 1): Choose whether you want to assign all your Variax
settings on this Setup pg 7 screen on a per Preset basis or Globally.*

VARIAX (VDI) input. The specic

System Setup

2•11

• When set to “Preset,” all the parameter settings shown on the Variax Setup

screens (Setup pages 7 & 8) are saved and recalled individually per POD

HD500X preset. You’ll see additional options in the screen when you have a
Variax connected and choose “Preset.”

• When set to “Global,” this provides complete manual control over all Variax
functions, regardless what Variax settings you may have saved within the POD
HD500X presets.

*Note: For a James Tyler Variax (JTV) this will also determine whether the guitar’s Mag/Model
switch selection (as heard through the “Variax” Input Source option) will be recalled per Preset or
Globally.
Also note that the Setup Pg 8 - JTV Tuning Options are not affected by this Variax Control
setting. The Tuning settings are saved per Preset.

System Setup

2•12

James Tyler® Variax®

All James Tyler Variax (JTV) family guitars are supported. Also see “Page 8, James Tyler

Variax Tuning Options” on page 2•16 for even more JTV options!

• Variax Control (Knob 1): See page 2•11.

• Model (Knob 2): Selects the Variax Model & pickup position setting. Choose the
“Don’t Force” option if you prefer to not have the JTV local Model changed by the
Model value saved within the POD HD500X presets.

• Local Control (Knob 3): Determines whether the JTV Volume and Tone knobs,
and/or toggle switch are to remain active or be “locked.” When locked, the knob/
switch no longer controls the JTV guitar’s local functions for the Modeled output
of the guitar.*

*Note: When utilizing the Magnetic output mode on the JTV guitar, only the Volume knob is
“Locked” by any of the Local Control - Locked settings. For the Magnetic output, the Tone
and Pickup switch functions remain unlocked even when set to “Locked” via Knob 3. This
feature allows you to freely use the JTV Tone knob or Pickup selector switch when the JTV is
in the Magnetic pickup output mode, while keeping the Modeled settings still “locked” if you
prefer these Modeled settings to remain unchanged when you toggle back to Modeled output
mode!
Also note that when any of these JTV controls are locked, changing the JTV guitar’s Model
Encoder knob automatically always resets all to unlocked.

James Tyler® is a registered trademark of James Tyler Guitars.

• Setting the JTV Volume and/or Tone knobs to “Locked” can be desirable when
the knobs are assigned to remotely control any POD HD500X Amp or FX
parameters - see “Expression Pedal & Variax® Knob Controller Assignment” on

page 3•6 for details.

• Tone (Knob 4): Allows the JTV Tone knob value to be saved with the current
preset, or applied Globally, per the Variax Control (Knob 1) setting.

Variax Electric

All rst generation Variax Electric Guitars are supported.

System Setup

2•13

• Variax Control (Knob 1): See page 2•11.

• Model (Knob 2): Selects the Variax Model & pickup position setting. Choose the
“Don’t Force” option if you prefer to not have the Variax guitar’s model changed
by the Model value saved within the POD HD500X presets.

• Local Control (Knob 3): This feature is not applicable for rst generation Variax
instruments, therefore, no options are available.

• Tone (Knob 4): Allows the Variax guitar’s Tone knob value to be saved with the
current preset, if desired.

System Setup

2•14

Variax Acoustic 700

For a Variax Acoustic Guitar, you’ll see two Setup pages, 7a and 7b, to accommodate
the additional controls. Multifunction Knobs 1, 2 & 3 are common controls, shown on

both Setup pages. Knob 4 is unique on each page.

• Variax Control (Knob 1): See page 2•11.

• Model (Knob 2 - pgs. 7a & b): Selects the Variax Acoustic Model. Choose the
“Don’t Force” option if you prefer to not have the JTV local Model changed by the
Model value saved within the POD HD500X presets.

• Local Control (Knob 3 - pgs. 7a & b): This feature is not applicable for Variax
Acoustic, therefore, no options are available.

• Mic Position (Knob 4 - pg 7a): Changing this value simulates changing the mic
position on the acoustic from closer to further from the soundhole.

• Comp (Knob 4 on pg 7b): Selects the amount of compression eect applied to
the Variax Acoustic tone.

System Setup

Variax Bass 700 & 705

For a Variax Bass, you’ll see three Setup pages, 7a, 7b & 7c to accommodate all the
controls on the Bass. Multifunction Knobs 1, 2 & 3 on all pages are common controls.

Knob 4 on each page is unique.

2•15

• Variax Control (Knob 1 - pgs. 7a, b & c): See page 2•11.

• Model (Knob 2 - pgs. 7a, b & c): Selects the Variax Bass Guitar Model. Choose
the “Don’t Force” option if you prefer to not have the Variax Bass Model changed
by the Model value saved within any POD HD500X preset.

• Blend (Knob 4 - pg. 7a): Adjust this controls the balance between a neck and
bridge pickup tone on the Bass.

• Bass (Knob 4 - pg. 7b): Adjusts the amount of bass frequencies.

• Treble (Knob 4 - pg. 7c): Adjusts the amount of treble frequencies.

System Setup

Page 8, James Tyler Variax Tuning Options

The Page 8 Setup screen oers Tuning options for James Tyler Variax guitars.* These
allow you to congure and edit alternate tunings for your connected JTV guitar, which

can be saved right along with any POD HD500X preset!

2•16

*Note: This tuning functionality is only available for James Tyler Variax family guitars. If no JTV (or

any rst-generation Variax) is connected, this screen offers no accessible options.

• Variax Tuning (Knob 1): Choose “Don’t Force” if you do not want the POD

HD500X preset to aect the local tuning on your JTV guitar. Choose “Custom” to

create a tuning of your own, which can be saved with the current preset.

• String Select (Knob 3): Select the desired guitar string, 1 though 6, for which you
want to change the pitch.

• Note Oset (Knob 4): Choose the amount of half-steps, positive or negative, for
which you want to raise or lower the pitch of the selected string. The resulting note
will then be displayed on the tuning graphic at the top of the screen. For example,
in the screenshot above, we’ve altered the low E string down two half-steps to a
D note.*

*Note: The offset value will always be accurate - the note labels displayed assume the guitar is
tuned to standard pitch (E, A, D, G, B, E), with the A using a 440Hz reference pitch.

Page 9, Setup: L6 LINK Audio

These options congure the POD HD500X audio signal fed to up to four Line 6 DT50™/
DT25™ ampliers using the L6 Link connection.* These settings are saved per Preset.

*Note: For details on using the POD HD500X L6 LINK connection with DT ampliers, please see

the additional documentation available at http://line6.com/support/manuals/.

• Amp 1 - Amp 4 - Select the audio signal you want fed to each DT amplier:

• Choose the main output signal (Left, Right, Left/Right summed).

• Choose the output of one specic Amp Model (Amp Model A or Amp Model B).

These options congure the POD HD500X audio signal fed to up to four Line 6 DT
Series ampliers and/or StageSource™ speakers using the L6 LINK connection. The

settings for each of the 4 Amps are saved per Preset. Whenever one or more DT
amps/StageSource speakers are connected to the POD HD500X - L6 LINK output,

you’ll see each identied on the screen, such as the “DT50” appears as connected in
the #1 Amp position in the above screenshot (note that these are indicators labels only

and not stored per Preset).

System Setup

2•17

1 - 4 Amp Options - Select the specic POD HD audio signal you want fed to each

L6 LINK-connected DT amp/StageSource speaker. Note that the L6 LINK audio signal
fed to each amp is mono.

• Choose Left, Right or Left/Right (summed to mono) to send the main POD
HD output signal.

• Choose the output of one or two specic POD HD Amp Models - Amp Model
A, Amp Model B, or both Amp Model A/B.

System Setup

2•18

• Choose Mute to silence any connected DT amp/StageSource speaker.
This is handy, for example, if you are L6 LINK-connected to both a DT amp
and StageSource speaker.* You can save some POD HD Presets with the
StageSource set to “Mute” to allow an electric guitar tone to be heard through
DT amp only - and other Presets with the DT amp set to “Mute” for an acoustic
tone to be heard from the StageSource speaker only. Even better, if you use a
Line 6 Variax, these electric & acoustic guitar settings can be saved with your
POD Preset as well!

*Note: It is necessary to always place the StageSource speaker(s) last in the L6 LINK signal
chain (e.g. - POD HD500X > DT50 > StageSource L3). For more about using the L6 LINK
connection, DT Series amps & StageSource speakers, please see the additional documentation
available at http://line6.com/support/manuals/.

Page 10, Setup: L6 LINK Control

These options allow you to dictate how up to four connected Line 6 DT50 or DT25

ampliers each “follow” the POD HD500X Amp Models & settings. Parameters 1 - 4
correspond to L6 LINK connected DT ampliers 1 - 4, respectively.

• Each DT amplier can be set independently to follow either the current Preset’s
Amp Model A or Amp Model B.

• The DT amplier automatically congures its power amp Topology settings to
match the selected Amp Model A or B.

• The DT amp controls are also synced to the selected Amp Model A or B.

• Alternatively, you can select a MIDI Channel to set the DT amp’s MIDI

communication channel. This eectively sets the respective DT amp to utilize its
own internal Amp Model (rather than the POD HD500X Amp Model), and “syncs”

its front panel controls with other DT amps that are set to the same MIDI Channel.

*Note: These L6 LINK Control settings are for DT Series ampliers only and ignored by any

connected Line 6 StageSource speakers, which do not respond to MIDI CC messages.

Features & Functionality

FeatureS & FunctiOnality

Ready to dive deeper? In this chapter, we’ll go into more detail on the major features &
functionality oered on POD® HD500X.

FX Blocks

For each Preset there are always a total of 8 FX Blocks, each capable of loading any FX

Model, (or the FX Loop - see next section). When in the Signal Flow View screen, select

any FX Block and you’ll see options at the bottom of the screen, adjustable using the
Multi-Function Knobs 1-4.

3•1

The Signal Flow View with an FX Block selected

• Knob 1 - Model Type: Select from among the FX Model categories.

• To load no eect in the selected Block, choose “None.” You’ll see the Block
then appear “Null,” as shown below. A Null FX Block can still be moved and
loaded with a new Model at any time. Setting unneeded FX Blocks to None

is a great way to minimize your tone’s DSP usage (see “Dynamic DSP” on

page 3•13).

FX Blocks with the Model set to “None”

• Knob 2 - FX Model: Choose the desired Model from the Model Type list.

Features & Functionality

• Knob 3 - FX Parameters: Choose from up to 5 adjustable parameters.
Alternatively, double-press the
in one screen - see “FX Edit Mode” on page 5•1.

• Knob 4 - Parameter Value: Adjusts the value for the currently selected parameter.

Each FX Block also oers the following features:

ENTER button to access all the Model’s parameters

3•2

• On/O: Toggle the FX Block “On” or “O” by pressing the

ENTER button once.

When O, your signal ows through the FX Block unprocessed.

• Move FX Position: Each FX Block can be moved throughout signal chain,

providing complete routing exibility. Place any FX Model before the Amp (“Pre”),
after the Amp (“Post”), or within one of the parallel Paths A & B - see “Amp Model

Positioning” on page 6•1 for details.

• Saved Per Preset: All FX Block positions, their loaded FX Models and all FX
parameter values within the tone are saved with each Preset.

FX Loop

For any one of the 8 FX Blocks, you can load the FX Loop rather than an FX Model.
This allows you to position the POD HD500X hardware FX Loop anywhere you like
within the current signal path - even within one of the parallel Paths A or B!

The Signal Flow View with the FX Loop selected

Note that it is necessary to set one of the FX Blocks within your Preset to the “FX Loop” before
you’ll hear the signal fed through your SEND & RETURN device connections.

Access options for the FX Loop at the bottom of the Signal Flow View, or in the Edit

Mode screen. You can also toggle the FX Loop “On” or “O” by pressing the

ENTER

button once. The FX Loop’s position and all its parameter values are saved per Preset.
Please also see “FX Loop” on page 5•4.

Features & Functionality

Amp Blocks

A single Amp Block can be placed in the “Pre” or “Post” signal ow positions, or within

parallel Path A. Or, two Amps can be used if positioned within the Paths A & B, as

shown below. Much like FX Blocks, Amp Blocks can be toggled On/O and include
several editable parameters. But there’s quite a bit more available for Amps as well,

so please refer to the dedicated chapter “Amp, Cab & Mic Models” on page 6•1 for
details!

A Preset with two Amp Blocks

Mixer Block

The Mixer is permanently positioned at the end of the parallel Paths A & B and provides
individual Level and Pan controls for each Paths’ output before fed to the “Post”
position. When the Mixer is selected in the Signal Flow View, its four parameters are
available at the bottom of the screen, accessible using the Multi-function Knobs 1-4.

3•3

The Signal Flow View with the Mixer Block selected, showing its 4 parameters

Features & Functionality

• Volume A (Knob 1): Controls the volume level of the Path A output. 0 dB is unity
gain.

• Volume B (Knob 2): Controls the volume level of the Path B output. 0 dB is unity
gain.

• Pan A (Knob 3): Adjusts the left/right stereo balance of the Path A output.

• Pan B (Knob 4): Adjusts the left/right stereo balance of the Path B output.

3•4

Moving FX Blocks

Any of the 8 FX Blocks can be moved throughout your tone’s signal ow, providing
tremendous routing exibility. To move any FX Block, start within the Signal Flow View

and select the FX Block to be moved. Press the
FX Block appear “raised” to indicate it is now moveable.

ENTER

AMP & FX ON / OFF

DBL PRESS TO ASSIGN CTL

MOVE

Pressing the Move button to reposition an FX Block

The FX Block can now be moved as follows:

• Use the

Nav. Disc buttons to move the FX Block to the desired position.

• Move the FX Block into either Path A or B, and place it before or after an Amp
Model within the path. Use the

Nav. Disc buttons to move the FX Block to

the opposite path. This allows you to run your eect in “parallel” and blend the

individual Path A & B outputs using the Mixer’s Level & Pan options!

MOVE button and you’ll see the selected

• Once the FX Block is in the desired position, press the

MOVE button again to drop

it into place.

• Amp Blocks can be moved into xed positions within the Pre or Post signal path
areas, or within the Paths A & B - see “Amp Model Positioning” on page 6•1.

• The Looper can also be selected and moved either to the start (“Pre”) or end

(“Post”) of the signal ow - see “Looper Mode” on page 8•1.

Features & Functionality

Model Types and Mono/Stereo Signal Routing

It is important to note that some Models (all EQs, Wahs & Volume, and some Modulations,

Filters, Pitches and Delays, as well as the FX Loop) preserve a stereo output within the

signal chain, while others (all Dynamics, Distortions, all Amps & Preamps, and other

various Models) are mono FX and do not. The POD HD500X Inputs 1 & 2 are fed into

the signal chain as stereo (see “Page 3, Setup: Input Options” on page 2•3). Therefore,

wherever a mono FX or Amp Model is inserted, the Left & Right channels of this stereo
signal is “mono-ized” and heard as a two-channel mono signal at the Model’s output.
To follow are a few examples:

Ping Pong Delay

No mono-output FX or Amp follows Delay

• As shown above, if you place the Ping Pong Delay (a stereo-output FX Model)
after any other FX and/or Amp Models, you’ll hear its delay repeats bounce back
and forth between your Left and Right outputs.

3•5

Ping Pong Delay

A Distortion (mono) FX Model follows Delay

Ping Pong Delay

An Amp Model Follows Delay, within same Path

• If you place the Ping Pong Delay immediately before a mono FX Model (as shown
above, left) or Amp Model within the same Path (shown above, right), you’ll hear
its delays “mono-ized,” equally through both the Left and Right outputs.

• The FX Loop is capable of stereo, just like any stereo-output FX Model, provided

that you utilize a stereo cabling conguration from the

pedals/rack devices, and back into the

RETURN jacks.

SEND jack, through your

Features & Functionality

PHONES AUX IN

L/MONO RIGHT TRS STEREO

FX RETURN

LEFT RIGHT

BALANCED OUTPUT

L/MONO R/MONO

UNBALANCED OUTPUT FX SEND

OUT/THRUINPUT

MIDI

OUT

S/PDIF

LINE

STOMP

CD/MP3

INPUT

VARIAXMIC

• The above rules also apply within each of the parallel Paths A and B, since these

are each stereo signal paths as well. The Mixer Block oers Pan controls to

independently adjust the stereo balance of each of these Paths before they are

fed into the rst “Post” FX (or Amp Block, if the Amp is placed here), immediately

following the Mixer.

• Please also see “Amp Model Positioning” on page 6•1 for additional signal ow
information.

3•6

Expression Pedal & Variax® Knob Controller Assignment

POD HD500X includes two Pedal Modes, EXP 1 and EXP 2 for the “on-board” Pedal,
each of which can be assigned to any FX Model or FX Loop parameter, for endless
control possibilities.* Or, when an Expression Pedal is connected to the
on the back of POD HD500X, the on-board Pedal controls

EXP 2. The EXP 1 and EXP 2 Pedal Modes can each be assigned to control independent

FX parameters. These

EXP 1 & EXP 2 assignments and all settings made here are saved

EXP 1 and Pedal 2 controls

per Preset.

*Note that when you add a Wah FX Model to your tone, the “Position” parameter for the Wah is
automatically assigned to EXP 1. Likewise, when adding a Volume or Pan FX Model, its Position
parameter is automatically assigned to EXP 2. This will result in multiple items assigned to these
EXP Pedals if you already have existing Pedal assignments. For all Factory Presets that already
include a Wah, Volume or Pan, these are typically already assigned as well. You can change
these Pedal assignments, and/or create your own for other FX parameters - read on!

EXP 1 and EXP 2

When no additional Pedal is connected to the PEDAL 2 input, the on-board
Pedal‘s “Toe Switch” will toggle between the control of Pedal Modes

EXP 2. The red EXP 1 and green EXP 2 LEDs illuminate to indicate the current Pedal

Mode. (It is also possible to manually assign other functions to the Toe Switch

- see “Using the EXP Pedal Toe Switch” on page 3•11.)

PEDAL 2 input

EXP 1 and

EXP 1 and EXP 2 with Pedal 2 Connected

PEDAL 2

Optionally, you can connect a 2nd Expression Pedal (such as a Line 6 EX-1

Expression Pedal) to the
Pedal controls only

is connected, you’ll see the

PEDAL 2 input. With a Pedal 2 connected, the on-board

EXP 1, and Pedal 2 controls only EXP 2. Whenever a Pedal 2

EXP 1 & EXP 2 LEDs both lit.

Features & Functionality

Variax Knobs as Controllers

It is also possible to assign the Volume and/or Tone knob of any Line 6 Variax guitar
to control any POD HD500X Amp or FX parameter. Note that when assigning a Variax

knob to remotely control a POD HD500X parameter, you might nd it preferable to
“Lock”the knob’s Local Control option, so that it does not simultaneously aect the

Variax guitar’s Volume or Tone - please see “Page 7, Setup: Variax Options” on page

2•11 for instructions.

Controlling Amp & FX Parameters

Conguring the Expression Pedal and Variax Knob controller assignments is done

within the Controller Assign screen. In the Signal Flow View, select the Amp or FX
Block for which you’d like to create a controller assignment, then double-press the

MOVE button. For our example, we’ll select our Delay FX block in the Signal Flow View

and congure it to be controlled via the EXP-1 Pedal:

Tip! Expression Pedal and Knob Controllers are capable of driving up to 50+ POD HD parameters
simultaneously, making it possible to morph between sounds with a single Exp. Pedal or Knob
move. Simply repeat the following steps to assign a common Controller to multiple parameters
within the same Preset.

ENTER

AMP & FX ON / OFF

DBL PRESS TO ASSIGN CTL

MOVE

The Controller Assign screen is then displayed specically for the selected Model. In

our example, it is the Digital Delay W/Modulation.

3•7

Features & Functionality

Use the Multi-function Knobs 1-4 to congure the controller assignment options.

3•8

• Parameter (Knob 1): Select the parameter for the current Model that you want to
control.* In our example, we’ll choose the Mix parameter.

• Controller (Knob 2): Select the controller that you want to assign to the parameter.
Choose O to have no assignment, or choose EXP 1, EXP 2, Variax Vol or Variax
Tone.

The Controller Assign screen

• Minimum Value (Knob 3): Set the parameter value you’d like for the Pedal’s
“heel” or Knob’s minimum position.

• Maximum Value (Knob 4): Set the parameter value you’d like for the Pedal’s
“toe” or Knob’s minimum position.

* Note: As stated on page 3•6, when adding any Wah or Volume/Pan FX Model to your
tone, their Position parameters are automatically assigned to the EXP 1 & EXP 2. These Wah &
Volume/Pan EXP assignments will remain in addition to other parameters you assign, resulting
in your Pedal controlling multiple parameters. Be sure to remove any unwanted Model’s EXP
assignment in the Controller Assign screen.

To creat a controller assignment to an FX Loop parameter, simply select the FX Loop
Block within the Signal Flow View and go to the Controller Assign screen, as described
above.

Features & Functionality

The Controller Assign options for the FX Loop

Note: When a Controller is assigned to any FX Model parameter, manually editing this parameter’s
value will result in changing the Controller’s MIN or MAX value. For example, if the EXP-1 Pedal
Controller is assigned to a Wah FX Model’s Position parameter, select the Wah Model, go to its
Edit View screen, and select the Position parameter. If you turn multifunction knob #4 when the
Pedal is near the “heel” position, the MIN value is adjusted. If you turn the knob when the Pedal
is near the “Toe” position, the MAX value is adjusted.

FX & Amp Block Footswitch Assignment

Each of the FS1 through FS8 footswitches, as well as the Exp Pedal’s “Toe Switch” can

be congured to toggle any of the FX or Amp Blocks On/O. You can reference the

current Preset’s FX footswitch assignments by pressing the
Performance View screen. The assignments for

FS1-FS8 will dier depending on your

current Setup - FS Mode setting (see “Page 1, Setup: Utilities Options” on page 2•1):

VIEW button to display the

3•9

FX assignment for FS1-FS8 ABCD assignment for FS5-FS8

Note that when Looper Mode is active, the Performance View displays a set of Looper-specic

footswitch functions, as covered in “Looper Footswitch Controls & Performance View” on

page 8•1

.

Features & Functionality

Assigning an FX or Amp Block to a Footswitch

From the Signal Flow View, select the FX or Amp Block that you want assigned to one
of your footswitches. As an example, we’ll select the Delay FX Block. Then Press and
hold the

3•10

ENTER button to display the Footswitch Assign screen.

ENTER

AMP & FX ON / OFF

DBL PRESS TO ASSIGN CTL

MOVE

Select the desired Amp or FX block, then press and hold the ENTER button

The Footswitch Assign screen, with a Delay FX Model selected

Use Multi-function Knob 1 to select the footswitch to which you want this FX Block
assigned - choose FS1 through FS8, the EXP Toe Switch, or None to remove the
Block’s assignment. The following behaviors apply:

• If a footswitch already has an FX or Amp block assigned: The existing Block
remains assigned, and selecting this footswitch additionally assigns your new
Block. When referencing the Performance View, you’ll see the footswitch display

a “Multi” graphic to indicate this. You can congure 2 or more parameters to the
same footswitch to toggle them On/O simultaneously - or, have one toggle On
while another Toggles O!

Features & Functionality

Indicates multiple Blocks assigned to a footswitch

TIP: To reference current footswitch assignments, when in the Footswitch Assign screen, use

Nav. Disc buttons to select each Block, and look at the Knob 1 setting for each at the

the
bottom of the screen.

• When a footswitch has no Block assigned: You’ll see the N/A graphic displayed
in the Performance View for the respective footswitch.

Indicates no Blocks assigned to a footswitch

3•11

Using the EXP Pedal Toe Switch

As noted in “Expression Pedal & Variax® Knob Controller Assignment” on page 3•6,
when adding a Wah or Volume/Pan Model to your tone, their Position parameters are
automatically assigned to the

already include this Wah/Volume switching pre-congured for you. But the Toe Switch

assignment is not set automatically for newly added FX Models, so here is how to set
this up manually.

• With the Wah Model selected, go to the FS Assign screen and assign its FX Block

EXP TOE SWITCH, following the instructions above. This allows the Wah to be

to the

toggled On/O via the pedal Toe Switch.

EXP 1 and EXP 2 Pedal Modes. Most Factory Presets

Features & Functionality

3•12

Further, if you have a dierent FX parameter (such as the Volume - Position) being
controlled by the opposite EXP Pedal Mode, you’ll likely nd it useful to have the Toe
Switch toggle both the FX On/O alternately, so that only the desired Model is active

while being controlled. For example, say you have a Preset where the Wah is controlled

EXP 1, and the Volume by EXP 2:

by

Note: If you have an additional Pedal connected to PEDAL 2, you may not want to use the

following conguration, since the Wah and Volume are already controlled by the two Pedals

individually.

Assigning an FX Block to the on-board pedal’s “Toe Switch”

• Click the EXP TOE SWITCH switch so that the red EXP 1 LED is lit.

• In the Signal Flow View, select the Volume FX block and toggle it “O” using the

ENTER button. You should now see the Wah “On” and the Volume “O.”

Wah in “On”

Volume is “O”

• Repeat the previous Footswitch Assign steps for both the Wah and the Volume,
assigning each to the

• Now whenever you click the

EXP TOE SWITCH.

EXP TOE SWITCH to EXP 1 for this Preset, the Volume is

switched “O” and the Wah is switch “On” and is controlled by the Pedal - and

vice versa when switching to

EXP 2.

• Be sure to save to retain these settings with your Preset!

Features & Functionality

Dynamic DSP

We’ve oered up a whole lot of sound possibilities in POD HD500X, and it can take
some serious Digital Signal Processing (DSP) to run these goodies. Rather than limit

your creative potential with fewer Models or signal routing options, we chose to
implement a “Dynamic DSP” system, which dynamically assigns DSP resources to

accommodate your tone congurations. When creating a tone that utilizes several

heavy-hitting DSP Models, it is possible to surpass the amount of processing power
available. In these cases, you’ll see the DSP LIMIT REACHED indicator appear, and
the current Model is bypassed to allow your tone to remain active.

DSP Limit alert is
temporarily displayed

Currently selected
Model is automatically
bypassed, with DSP mes­sage shown here

Signal Flow View - displaying DSP Limit alert

In the above example, trying to change the Model for a 2nd Amp placed our tone over
the DSP limit. Therefore, the DSP LIMIT REACHED message is shown temporarily,
and the Amp B Model we selected is automatically bypassed, as indicated by the DSP
Over message. When the DSP Limit is reached, you have a few options to free up DSP
resources.

3•13

• Try using dierent Amp Models. Some of the HD Amp Models require more DSP
power than others, so try switching to a dierent Amp Model.

• Use only one Amp Model rather than two.

• Try toggling Amp and/or FX Models “O” or set the Block’s Model to “None,” (see

“FX Blocks” on page 3•1). Some FX types, such as Pitch Shifters and Reverbs,

utilize DSP more heavily.

Note: Setting an Amp or FX Block to “None” reduces the Block’s DSP usage more substantially
than toggling its Model to “Off.”

• Once you’re happy with your customized tone, save it so you can recall it later.

Set Lists & Presets

Set liStS & preSetS

This chapter covers all you need to know about working with Set Lists and Presets to
manage your POD® HD500X Tones.

Be sure to also check out the free Line 6 POD HD500X Edit software. It can be used to create,
customize & manage an unlimited library of POD HD500X Set Lists & Presets right on your
Mac® or Windows® computer! See “POD HD500X Edit Software” on page 1•5.

Working with Set Lists

POD HD500X stores 64 Presets within each of its 8 Set Lists. The big idea here is
that you can load any one of these Set Lists to then gain access to any of its Preset
locations - where you can save your complete settings to, or load a Preset from.

Accessing Set Lists

Push the PRESETS knob to display the Set Lists screen.

4•1

SAVE

S

E

E

T

R

S

P

HOLD FOR SYSTEM & I/O

VIEW

The Set Lists screen

DT Series Amp Owners... The “L6 LINK<->DT” Set List is lled with Presets specically designed

for use with POD HD500X connected to a DT Series amp utilizing the L6 LINK connection. Also,
the Presets within this Set List that include “LVM” within their titles are designed for use with your
DT Series amp set to its “Low Volume Mode.”

Set Lists & Presets

Load a Set List: Use the and Nav. Pad buttons, or turn the PRESETS knob to
select any Set List, then press the
Set List, making all its Presets available. Note that your previously loaded Preset is
automatically closed, and the Preset of the same Bank/Channel location number from
the new Set List is loaded.

ENTER button. This immediately loads the selected

4•2

Rename a Set List: With the desired Set List selected, press the

SAVE button to

display the Rename Set List screen.

SAVE

S

E

E

T

R

S

P

HOLD FOR SYSTEM & I/O

VIEW

To edit the Set List name, use Multi-function Knob 3 to select the desired character,
then use Knob 4 to edit the character. Once complete, press
new name, and you’ll be returned to the Set Lists screen. Or, just press

SAVE again to commit your

PRESETS button

to return to the Set Lists screen without committing any name changes.

Set Lists & Presets

ENTER

AMP & FX ON / OFF

Arranging Presets within Set Lists

While in the Set Lists screen, double-press the ENTER button to display the list of
Presets in the current Set List, where you can reference each Preset’s Bank/Channel
location, load a Preset, or rearrange the Presets into in any order you like.

The Set List: Presets screen

Load a Preset: Use the Nav. Pad buttons, or turn the PRESETS knob to select any
of the 64 locations, or use the
Bank at a time. Press the

ENTER button to immediately load the selected location’s

Preset.

Nav. Pad buttons to navigate through the list one

4•3

Move a Preset: Here is an example where we’ll move the “HIWAY 100” Preset from
location 2A to location 2C.

• Select location 2A for the “HIWAY 100” Preset, then press the

MOVE button.

You’ll see the selected Preset appear “raised” to indicate it is now moveable:

DBL PRESS TO ASSIGN CTL

MOVE

Set Lists & Presets

4•4

• Use the Nav. Pad buttons or PRESETS knob to select the 2C destination location.
Note that as you select a new Bank/Channel location, the resulting Preset order
is displayed on the screen. For our example, “HIWAY 100” is inserted into 2C,
resulting in the Presets from the original location (2A) to the destination (2C) to
move up one slot:

“Hiway 100” moved from 2A to 2C

• Once you’ve placed the Preset over the desired channel location, press the

MOVE button again to “drop” it into the slot.

• Repeat the above steps to rearrange any additional Presets as desired. To
commit all your changes, you must next press the

PRESETS button - you’ll see

the “Saving” screen displayed to indicate this process.

The Set List: Saving screen

Working with Presets

Each of the 8 Set Lists within POD HD500X includes 64 Channel locations for holding
Presets. These Set Lists and Presets are all retained in your POD HD500X internal
memory. Each Preset includes all current FX & Amps in use, all their parameter settings,

their position within the signal ow, footswitch & pedal assignments, Mixer settings,

as well as input & output and other Setup options, as indicated throughout this Guide.

Set Lists & Presets

SAVE

HOLD FOR SYSTEM & I/O

VIEW

P

R

E

S

E

T

S

Accessing Presets

From any of the Home View screens, simply turn the PRESETS knob to increment
through the current Set List. The currently loaded Bank/Channel number and Preset

name are displayed at the top of the Home View screen. (Note that you’ll need to save
your current Preset before loading a dierent one if you wish to retain any changes

made!)

Turn the PRESETS knob to increment through Presets

Alternatively, you can access Presets that reside within any Set List from within the

Set List - Preset screen (see page 4•2), or by using the POD HD500X Footswitches.

Bank & Channel Footswitches

Preset selection is completely “hands-free” by way of the Bank Up , Bank Down
and Channel

- FS Mode setting to “ABCD” to allow
locations - see ““Page 1, Setup: Utilities Options” on page 2•1.

A, B, C, D (FS5 - FS8) Footswitches. Note that you’ll need to set the System

FS5 - FS8 to instantly access the Channel

4•5

Bank Up & Down Channel A,B,C,D footswitches (FS5 - FS8)

• Press the A, B, C or D switch to instantly recall its Channel location within the
currently selected Bank.

Set Lists & Presets

4•6

• To navigate through Banks, press the Bank Up or Bank Down footswitch and
you’ll see the Queued Bank screen displayed, with the current Bank/Channel

ashing:

The Queued Bank screen - the next Bank is queued

• Continue pressing the Bank Down or Bank Up footswitch and you’ll see the
previous/next Bank’s
above. Then press the

A, B, C & D Channels & their Presets “queued,” as shown

A, B, C or D footswitch to load the respective Preset from

the desired Bank.

Saving Presets

To retain any customization you may have performed on your Preset, or if you want
to rename or move the current Preset, you can use the Save function. Whenever your
current Preset is in an “unsaved” state, you’ll see an asterisk appear in the Signal Flow
View.

Asterisk indicating Preset is in an unsaved state

Set Lists & Presets

Remember to always save your Preset before calling up a different Preset to retain any changes
you may have made!

Press the SAVE button to display the Save Preset screen.

The Save Preset screen

Use the Multi-function Knobs 1-4 to choose your Save functions.

• Set List (Knob 1): Choose any one of the 8 Set Lists here in which you’d like to
save your Preset. By default, you’ll see your currently loaded Set List.

4•7

• Destination (Knob 2): Choose the specic Bank/Channel location within the
selected Set List to save your Preset. Note that this will permanently overwrite
the Preset within the destination location once you commit the save. Choose
a location that contains a “New Tone” to avoid overwriting customized Preset.

• Cursor & Character (Knobs 3 & 4): To rename your Preset, select a character
with Knob 3, then use Knob 4 to edit the selected character.

TIP! For speedy preset naming... The Nav. Disc buttons may be used to move the cursor left &

right. Pressing down clears the currently selected character. Pressing up cycles through the rst

character of Upper Case, Lower Case, Numeric, and blank.

Once you’ve completed the above settings, press the SAVE button to commit. Or, to
cancel the save, press the

PRESETS knob or VIEW button.

FX edit mOde

Within this chapter, we’ll cover the Edit Mode for FX, which provides access to all

editable parameters for the FX models and the FX Loop. (For info on Amp Models, see

“Editing Amp Parameters” on page 6•6.) All changes made in the Edit Mode are saved

per Preset.

Accessing FX Edit Mode

First press the VIEW button to display the Signal Flow View screen.

SAVE

S

E

E

T

R

S

P

HOLD FOR SYSTEM & I/O

VIEW

The Signal Flow View - Modulation FX Block selected

Use the Nav. Disc buttons to select the Block you wish to edit. In our example

above, we’ve selected the rst Block, which currently has a Modulation Model loaded.

While in the Signal Flow View, you can edit a few options for the selected Block’s FX
Model using the Multi-select Knobs 1 - 4. However, by entering the Edit Mode screen,
you’ll have instant access to all parameters. Double-press the
Edit Mode.

ENTER button to display

FX Edit Mode

5•1

ENTER

AMP & FX ON / OFF

DBL PRESS TO ASSIGN CTL

MOVE

The FX Edit Mode - Modulation:U-Vibe FX Model loaded

FX Edit Mode

5•2

Use the Multi-Function Knobs 1- 4 to access the respectively numbered options at the
bottom of the Edit Mode screen.

The Multi-Function Knobs

While the Edit Mode screen is displayed, these knobs access the following functions.

Knob 1 - Type

Select the type of FX Model you want to insert into this Block location. You’ll see the

selected Type displayed at the top of the screen, as well as a handy Model On/O

indicator at the right.

• None: Choose “None” to remove any FX Model from the Block.

• FX: Choose from the list of FX types.

• FX Loop: Not technically an FX Model, but the device’s FX Loop can be inserted
and its options edited much like one! See “FX Loop” on page 5•4.

Knob 2 - Model

Choose the specic Model for the current FX Type. You’ll see the selected FX Model

displayed at the top of the screen.

FX Edit Mode

Knob 3 - Parameter

Use the Nav. Disc buttons to select from among the parameters that are displayed.
The “selected” parameter is indicated by the arrow at the left.

Knob 4 - Value

Set the value for the selected parameter.

As shown above, some parameters utilize numerical values, while others utilize a
graphical bar display.

5•3

FX Edit Mode

FX Loop

5•4

The FX Loop can be inserted into any one FX Block. .

The FX Loop Edit Mode screen

Adjust the Parameter & Value settings the same as with any FX Model. These FX Loop
Edit Mode settings are saved per Preset.

• Send: Reduces the level fed out the FX Loop

Note: Use the LINE-STOMP switch on the back of POD HD500X to choose between levels for

Rack FX versus Pedals. This Send parameter can then be used to further ne-tune the level fed

to your connected devices.

SEND to your external devices.

• Return: Adjusts the level of the signal received into the stereo FX Loop RETURN
jacks.

• Mix: Blends the FX Loop signal that with the POD HD tone signal. When set to
100%, the full POD HD500X signal is fed to the

SEND. When set to 0%, your input

signal bypasses the FX Loop completely, so that you’ll hear only your POD HD
processed signal. Be sure to set the Mix to less than 100%, or toggle the

FX Loop Block “O,” if you do not have a complete connection between

the device’s

SEND & RETURN jacks, or you’ll hear only silence from the

output of POD HD500X!

TIP: Most FX and FX Loop parameters can optionally be assigned for Expression Pedal control!
See “Expression Pedal & Variax® Knob Controller Assignment” on page 3•6.

Amp, Cab & Mic Models

amp, cab & mic mOdelS

This chapter provides details on selecting & editing the exemplary HD Guitar Amp
& Preamp Models, all of which have been newly developed by our amazing team of
sound engineers for POD® HD500X! Also covered here are details on Speaker Cabs,
Mic Models and putting Amp Models to use.

Amp Model Positioning

Each Preset includes the ability to run one or two Amp or Preamp Models. Much like
each FX Block, the Amp Block can be repositioned using the

“Moving FX Blocks” on page 3•4 ). Here we’ll cover the impact on your signal ow

when placing the Amp in dierent positions.

*Note: Looking for a Mic Preamp Model? You can nd the Vintage Pre Model located within

the “Preamps+EQ” category of any FX Block. Having this Preamp Model within the FX Blocks

(rather than in the Amp Blocks) allows you the exibility of using it with or without the Amp

models, and positioning it anywhere in the signal chain. See “Preamp+EQ Models” on page

for more info.

7•8

Amps Within Paths A & B

MOVE button (please see

6•1

You’ll nd that a number of the Factory Presets already utilize this type of conguration.

When moving the single Amp Model into the parallel Paths A/B from the “Pre” position

(before the Path A/B split) or “Post” position (after the Mixer Block), a 2nd Amp B Block
is automatically created in Path B. In this conguration, the top amp is referred to as

Amp A and the other Amp B.

Behaviors for this conguration are:

• Each Amp Block can be individually set to a dierent Amp or Preamp Model,*
edited and enabled/disabled.

*Note: Some Amp/Preamp Models utilize more DSP than others. You may nd it necessary to

bypass or remove some FX Models to enable two simultaneous Amps - see “Dynamic DSP”

on page 3•13

for more info.

Amp A Amp B

Amp Models within Paths A & B

Amp, Cab & Mic Models

• The Amp Blocks cannot be moved within the A or B Paths, however, it is
possible to move any FX Blocks before or after the Amps within either Path.

• Specic behaviors apply for moving an Amp Block out of the parallel Paths
A/B:

6•2

• Select Amp A, push the

MOVE button, then the Nav. Disc button. This removes

Amp B from the tone and moves Amp A to the Post position, where it is placed

directly after the Mixer (and before any “Post” FX).

• Select Amp A, push the

MOVE button, then press the Nav. Disc button. This

removes Amp B from the tone and moves Amp A to the Pre position, where it

is placed just before the Path A/B split (and after any “Pre” FX).

• For the above actions, pressing

MOVE when Amp B is selected has no function.

Amp Block in Pre or Post Positions

Only a single Amp Block can be used within either of these positions.

Amp A

Amp in “Pre” position (before Path A & B)

With the Amp in Pre, as shown above, the single amp feeds both Paths A & B. You can
always move FX into either Path A or B, in which case they’ll behave as “Post Amp”
FX, yet be in parallel, with each Path’s output controlled by the Mixer’s A & B Level and
Pan.

Note that when utilizing both Inputs 1 & 2 (or when using “SAME” for either of these Input
options) the two Input signals are combined to allow them to be fed into any Amp or mono FX
Model within the Pre position, which can result in a hot signal level. Reduce your instruments’
volume as needed to avoid overloading your Pre-positioned Models.

Amp A

Amp in “Post” position (after Path A & B)

Amp, Cab & Mic Models

With the Amp in Post position, parallel Paths A & B are fed into the input of the Amp.*
You can still move FX into either Path A or B, in which case they’ll be in parallel, with
each Path’s output individually controlled by the Mixer’s A & B Level and Pan options
to allow you to custom blend them before they hit the Amp.

*Note: All Amps & Preamps behave as “mono” Models, which impact the stereo output of any

FX Models positioned before them within the signal ow. For more info, please see “Model

Types and Mono/Stereo Signal Routing” on page 3•5

.

Selecting Amp, Cab & Mic Models

Press the VIEW button to display the Signal Flow View and use the Nav. Disc to select
Amp A or Amp B.

The Signal Flow View - Amp B selected

6•3

Once an Amp Model is selected, you’ll see the 4 editable Amp options at the bottom
of the screen, accessible via the Multi-function knobs 1 - 4.

• Knob 1 - Selects the Amp Model.

• Knob 2 - Selects the Cab Model.

• Knob 3 - Selects the Mic Model.

• Knob 4 - When the current Preset includes two Amp models, this selects

which Amp (the Amp within Path A or B) is controlled by the Amp Tone

knobs.

As you change the Amp Model (Knob 1), you’ll also see that default Cab and Mic

models are automatically selected for each Amp or Preamp. But you can use Knobs 3
& 4 to select any Cab and/or Mic you like. These settings are saved per Preset.

Amp, Cab & Mic Models

Attention Bass Players: Try the Flip Top Bass Amp Model for some thump! Note that this Model
loads with a matching 1x15 Flip Top speaker cab, as well as a full set of Mic Model options for
stellar bass tones. (And yes, you can indeed select any other Cab with the Flip Top Bass Amp
Model, or choose the Flip Top Cab with any Guitar Amp Model!) See the following sections for
details about these models.

Amp and Preamp Models

We’ve included a complete set of “Preamp” versions of each Amp as well. Choose
one of these to obtain the tone of just the preamp stage of the amp - recommended

when feeding your POD HD500X output into an external amplier, or when using the
L6 LINK™ connection.*

A Preamp Model is selected for Amp B

6•4

*Note that, whether an Amp or Preamp is selected, the additional application of Cab and Mic
Models is dependent upon the SETUP:OUTPUT settings. Please see “Page 4, Setup: Output

Options” on page 2•7

.

The overall volume levels among the dierent Preamp Models varies - this is normal.
The Preamp sections of each of the classic ampliers we modeled are indeed quite
dierent, and we’ve set the Preamps’ default values to best match the type of power

amp into which they are intended to fed. Tweak the

DRIVE and VOLUME knobs to optimize

the level for your specic needs!

Amp Block States

The Amp Blocks have 3 available states: On, O (bypassed) or Disabled (sometimes

referred to as a “Null” state for the Block).

Amp Block “On” Amp Block “Off” Amp Block “Disabled” (Null Block)

Amp, Cab & Mic Models

About Default Amp Settings: Whenever you change to a dierent Amp or Preamp

Model, predetermined Cab & Mic models are automatically loaded, as well as Amp
Tone Knob settings designed to complement the Amp type. As noted throughout

this chapter, you can certainly switch to a dierent Cab and/or Mic Model - just be

sure to save your Preset to retain these changes.

Mic Models

To follow is a list of all Mic Models. Note that all Guitar Amp’s Cabs offer a selection of 8
Mics, and the 1x15 Flip Top Bass Cab offers its own selection of 8 Mic Models.

Mic Model Descriptions

Mic Name Based On...*

Guitar Cab Mic Models

57 On Xs Shure® SM57 Dynamic, On Axis

57 O Xs Shure® SM57 Dynamic, O Axis

409 Dyn Sennheiser® MD 409 Dynamic

421 Dyn Sennheiser® MD 421 Dynamic

4038 Rbn Coles 4038 Ribbon

6•5

121 Rbn Royer® 121 Ribbon

67 Cond Neumann® U67 Condenser

87 Cond Neumann® U87 Condenser

Bass Cab Mic Models

57 On Xs Shure® SM57 Dynamic, On Axis

421 Dyn Sennheiser® MD 421 Dynamic

12 Dyn AKG® D12

112 Dyn AKG® D112

20 Dyn EV® RE20

7 Dyn Shure® SM7B

40 Dyn Heil® PR40

47 Cond Neumann® U47

*

All product names used in this manual are trademarks of their respective owners, which are in no way associated or affiliated with Line 6. These trademarks of other manufacturers are used solely to identify the products of those manufacturers whose tones and sounds were studied
during Line 6’s sound model development. Shure® is a registered trademark of Shure Incorporated, Sennheiser® is a registered trademark of Sennheiser Electronic Corporation, Neumann® is a registered trademark of Georg Neumann GMBH, Royer® is a registered trademark
of Bulldog Audio, Inc. DBA Rover Labs. AKG® is a registered trademark of Harman International Industries, Incorporated. EV® is a registered trademark of Electro-Voice, Incorporated. Heil® is a registered trademark of Heil Sound Ltd.

Amp, Cab & Mic Models

Editing Amp Parameters

To toggle the selected Amp model On or Off

ENTER

AMP & FX ON / OFF

To adjust the Amp Tone

Turn any of the Amp Tone knobs to adjust the desired settings for the selected Amp.

Whenever you adjust any of the Amp Tone knobs, you’ll see the “Momentary” AMP

EDIT

6•6

LCD screen temporarily displayed, showing the actual values of the Tone knobs
for both current Amp A & Amp B Models (depending on your Amp Knobs Display
setting, see “Page 1, Setup: Utilities Options” on page 2•1). Also see the next section
for more about the

Press the ENTER - AMP ON/OFF button once. Toggling the Amp “O” results in
bypassing the Amp, Cab and Mic processing.

The Amp Tone knobs

AMP: EDIT options.

Amp & Cab Edit Display

Double-press the ENTER button to access the Amp & Cab Edit screens. You’ll see up

to 5 pages of options here, allowing you to ne-tune Amp, Cab and Mic settings.* All

settings in these screens are saved per Preset.

*Note: When the selected Amp Model is a “full” Amp Model, you will see ve Amp Edit pages,

with pages 2 & 3 offering additional “deep-editing” power amp-related functions, and pages 4
& 5 offering deep-edit Cab functions, as described below. When the selected Amp Model is a
Preamp, you will see only three Amp Edit pages, which offer the same options as the Amp/Cab
Edit pages 1, 4 and 5 described below. Use the Nav. Disc left & right arrow buttons to access
all available pages.

*

All product names used in this manual are trademarks of their respective owners, which are in no way associated or affiliated with Line 6. These trademarks of other manufacturers are used solely to identify the products of those manufacturers whose tones and sounds were studied
during Line 6’s sound model development. Shure® is a registered trademark of Shure Incorporated, Sennheiser® is a registered trademark of Sennheiser Electronic Corporation, Neumann® is a registered trademark of Georg Neumann GMBH, Royer® is a registered trademark
of Bulldog Audio, Inc. DBA Rover Labs. AKG® is a registered trademark of Harman International Industries, Incorporated. EV® is a registered trademark of Electro-Voice, Incorporated. Heil® is a registered trademark of Heil Sound Ltd.

Amp, Cab & Mic Models

Amp Edit - Page 1

ENTER

AMP & FX ON / OFF

DBL PRESS TO ASSIGN CTL

MOVE

Page 1 of the Amp:Edit Screen - both Amps are On

• With both Amp Models On: You’ll see the screen’s respective controls
update as you adjust the Amp Tone knobs, as shown above. Note that the
black “dots” around each knob indicate its last-saved value. You can also
still access the Amp, Cab & Mic Model and Amp A/B selections via the Multi­function Knobs 1-4 while this screen is displayed.

6•7

Page 1 of the Amp:Edit Screen - Amp A Bypassed

• With an Amp Model O: You’ll see only a VOL knob, as shown above for
Amp A. This is a separate parameter strictly for the Amp Model’s Bypass
Volume. Use the

VOLUME knob on your device to adjust this, and its value is

stored separately with the Preset for whenever the Amp Block is Bypassed.

Note that the VOLUME knob does not control the level at all for a “Null” Amp Block.

Amp, Cab & Mic Models

• Use Multi-Function knobs 1 - 4 to adjust the following options:

• Knob 1: Select the desired Amp or Preamp Model.

• Knob 2: Select the desired Cab Model (also see the Page 4 options).

• Knob 3: Select the desired Mic Model (also see the Page 4 options).

• Knob 4: Choose between adjusting controls for Amp A or Amp B. (This option

Amp Edit - Page 2

Page 2 oers three options that aect the power amp characteristics of your Amp

Model.

6•8

is available on all AMP EDIT screens.)

Page 2 of the Amp:Edit Screen (not displayed for Preamp Models)

• Knob 1: Use this Master Volume to adjust the amount of power amp distortion.
This parameter is highly interactive with all other power amp parameters -

the lower the Master is set, the less eect the other controls will have.

• Knob 2: Setting the Sag to minimum oers a “tighter” responsiveness, and
turning clockwise provides more “touch” dynamics & sustain.

• Knob 3: Controls how much heater hum & AC ripple interacts with your tone.
At the maximum setting things get really freaky.

Amp, Cab & Mic Models

Amp Edit - Page 3

Page 3 oers two more options that aect the power amp characteristics.

Page 3 of the Amp:Edit Screen (not displayed for Preamp Models)

• Knob 1: Changes the Bias of the power tubes. Set to minimum to achieve a
very “cold” Class AB biasing. At maximum the amp is operating in Class A.

• Knob 2: The Bias Excursion determines how the power amp tubes’ voicing
reacts when they are pushed hard. Set low for a tighter feel. Set high for
more tube compression. This parameter is highly reactive with the

MASTER settings.

DRIVE &

6•9

Amp Edit - Page 4

Here you’ll nd Microphone and Speaker Cabinet options.

Page 4 of the AMP:EDIT Screen (appears as Page 2 for Preamp Models)

Amp, Cab & Mic Models

Note: If you selected “No Cab” for your Cab Model, these Mic and Early Reections settings will
perform no function since no Speaker, Mic or Early Reections processing is applied.

• Knob 1: Sets the amount of “early reections.” Higher values add more
reective room sound to your Amp tone.

• Knob 2: Applies low frequency attenuation - helpful to tighten up the low
end of your tone.

• Knob 3: Selects the Mic type (see the Mic Model table on page 6•5).

Note: If you select the 1x15 Flip Top Bass Cab Model, you’ll see a unique set of Mic Models in
this list, best suited for Bass.

Amp Edit - Page 5

6•10

Here you’ll nd even further “deep-editing” parameters for the Speaker Cab, allowing
you to surgically rene the the feel and frequency response to your personal taste.

• Knob 1: Adjusts the overall level of the modeled speaker Resonance, which
results in a more “lively,” brighter response on higher settings. Increasing the
Resonance Level will cause the overall volume to increase as well.

• Knob 2: Adjusts the low frequency level of the modeled speaker resonance.
Just as the name implies, increasing the value on this knob adds more low
end “Thump” to the Cab tone.

• Knob 3: Adjusts the Decay time of the modeled speaker resonance. This
control provides the feel of a “tighter” speaker cone at lower values and a
“looser” speaker at higher values.

Amp, Cab & Mic Models

Note: The above three Cab parameters are interactive - As the Resonance Level is decreased
so are the effects of the Thump and Decay parameters. Thump and Decay are applied to the
modeled speaker resonance, therefore, if the Resonance Level is set to a minimum, the effects
of Thump and Decay parameters will not be audible.
Resonance Level, Thump, and Decay controls will only be audible when the POD is in Studio/
Direct output mode.

Press the HOME button, or double-press the ENTER button to exit the AMP:EDIT screen
when done. Be sure to save your Preset to retain customized Amp Model settings.

Amp/Preamp Models

To follow is a table showing the classic ampliers upon which all our HD Amp/Preamp

Models are based.* For more details, please also check out the POD HD Model Gallery,
available from http://line6.com/support/manuals/.

POD HD Amp/Preamp Models

Amp/Preamp Model Based On...*

Amp Disabled When selected, no Amp Model is loaded

Blackface Double Normal ‘65 “Blackface” Fender® Twin Reverb®, Normal input

channel

Blackface Double Vibrato ‘65 “Blackface” Fender® Twin Reverb®, Vibrato input

channel

Hiway 100 Hiwatt® Custom 100

Super O ‘60s Supro® S6616

Gibtone 185 Gibson® EH-185

Tweed B-Man Normal ‘59 Fender® Tweed Bassman®, Normal input channel

Tweed B-Man Bright ‘59 Fender® Tweed Bassman®, Bright input channel

Blackface ‘Lux Normal Fender® “Blackface” Deluxe Reverb®, Normal input channel

Blackface ‘Lux Vibrato Fender® “Blackface” Deluxe Reverb®, Vibrato input channel

Divide 9/15 Divided By 13 9/15

6•11

Amp, Cab & Mic Models

Amp/Preamp Model Based On...*

PhD Motorway Dr. Z® Route 66

Class A-15 ‘61 “Fawn” Vox® AC-15

Class A-30 TB Vox® AC-30 “Top Boost”

Brit J-45 Normal ‘65 Marshall® JTM-45 MkII, Normal input channel

Brit J-45 Bright ‘65 Marshall® JTM-45 MkII, Bright input channel

Plexi Lead 100 Normal ‘59 Marshall® “Plexi” Super Lead 100, Normal input channel

Plexi Lead 100 Bright ‘59 Marshall® “Plexi” Super Lead 100, Bright input channel

Brit P-75 Normal Park 75, Normal input channel

Brit P-75 Bright Park 75, Bright input channel

Brit J-800 Marshall® JCM-800

POD HD Amp/Preamp Models

6•12

Bomber Uber 2002 Bogner Uberschall

Treadplate Mesa/Boogie® Dual Rectier®

Angel F-Ball Engl® Fireball 100

Line 6 Elektrik A face-melting Line 6 original

Solo 100 Clean ‘93 Soldano® SLO 100, Normal channel, “Clean” mode

Solo 100 Crunch ‘93 Soldano® SLO 100, Normal channel, “Crunch” mode

Solo 100 OD ‘93 Soldano® SLO 100, Overdrive channel

Line 6 Doom A Line 6 merging of a modded JCM800 preamp + Hiwatt®

power amp for maximum sludge

Line 6 Epic A Line 6 creation oering epic sustain and distortion at

nearly all playing levels

Flip Top Ampeg® B-15NF Portaex® bass guitar amp

* All product names are trademarks of their respective owners, which are in no way associated or affiliated with Line 6. These product names and descriptions are provided for the sole purpose of identifying the specific products that were studied during Line 6’s sound model
development. Fender®, Twin Reverb®, Bassman® and Deluxe Reverb® are registered trademarks of Fender Musical Instruments Corporation. Vox® is a registered trademark of Vox R&D Limited. Marshall® is a registered trademark of Marshall Amplification Plc. Dr. Z®
is a registered trademark of Dr. Z Amps, Inc. Mesa/Boogie® and Dual Rectifier® are registered trademarks of Mesa/Boogie, Ltd. Engl® is a registered trademark of Beate Ausflug and Edmund Engl. Hiwatt® is a registered trademark of Hiwatt Equipment Limited Company,.
UK. Gibson® is a registered trademark of Gibson Guitar Corp. Supro® is a registered trademark of Zinky Electronics. Soldano® is a registered trademark of Gremlin Inc. DBA Soldano Custom Amplilfication Corporation. Ampeg® and Portaflex® are registered trademarks
of St. Louis Music, Inc..

Amp, Cab & Mic Models

Amp Control Labels

For some Amp Models, you’ll see slightly dierent labels for the Amp Tone knobs

displayed in the Amp:Edit screen. In the cases where the classic amps we’ve modeled
include special knob controls, we’ve emulated their behaviors accordingly.
These are listed as follows:

• Super O: The actual Supro® only has a Drive and a Tone knob, so we mapped
Tone to the

• Divide 9/15: The Divided by 13 amp oers two interactive channels. The

DRIVE knob controls the “clean” channel, and the BASS knob is being used as

the Drive knob for the “dirty” channel. The
the amp’s Tone & Cut knobs.

MID knob and invented Bass, Treble, and Presence controls:

Super O Amp:Edit screen

MID & TREBLE knobs behave like

6•13

Divide 9/15 Amp:Edit screen

• Class A-15 & Class A-30TB: Following the Vox® design, we’ve labeled the

MID knob as “Cut” for these two Amp Models - turning the knob counter-

clockwise reduces the high-end frequencies.

Class A-15 & Class A-30TB Amp:Edit screen

* All product names are trademarks of their respective owners, which are in no way associated or affiliated with Line 6. These product names and descriptions are provided for the sole purpose of identifying the specific products that were studied during Line 6’s sound model
development. Fender®, Twin Reverb®, Bassman® and Deluxe Reverb® are registered trademarks of Fender Musical Instruments Corporation. Vox® is a registered trademark of Vox R&D Limited. Marshall® is a registered trademark of Marshall Amplification Plc. Dr. Z®
is a registered trademark of Dr. Z Amps, Inc. Mesa/Boogie® and Dual Rectifier® are registered trademarks of Mesa/Boogie, Ltd. Engl® is a registered trademark of Beate Ausflug and Edmund Engl. Hiwatt® is a registered trademark of Hiwatt Equipment Limited Company,.
UK. Gibson® is a registered trademark of Gibson Guitar Corp. Supro® is a registered trademark of Zinky Electronics. Soldano® is a registered trademark of Gremlin Inc. DBA Soldano Custom Amplilfication Corporation. Ampeg® and Portaflex® are registered trademarks
of St. Louis Music, Inc..

Amp, Cab & Mic Models

Cab Models

To follow is a table showing the classic speaker cabinets upon which our Cab Models
are based.

No Cab Choosing this option applies no Speaker, Mic or Early

212 Blackface Double Fender® “Blackface” Twin Reverb® combo cabinet, 2x12 inch

412 Hiway Hiwatt® cabinet, 4x12 inch Fane® 12287 50 watt speakers

6x9 Super O Supro® S6616 combo cabinet, one “6x9” size speaker

112 Field Coil Gibson® EH-185 combo cabinet, 1x12 Field Coil Speaker

410 Tweed ‘59 Fender® Tweed Bassman® combo cabinet, 4x10 inch

6•14

112 BF ‘Lux Fender® “Blackface” Deluxe Reverb® combo cabinet , one 12

POD HD Cab Models

Cab Model Based On...*

Reections processing to your Amp Model.

Jensen® speakers

Jensen® alnico speakers

inch Oxford 12K5-6 speaker

112 Celest 12-H Divided By 13 9/15 combo cabinet, one 12 inch Celestion®

G12H Heritage (70th anniversary) speaker

212 PhD Ported Dr. Z®, Z Best cabinet, 2x12 inch Celestion® speakers (one

G12H Heritage and one Vintage 30)

112 Blue Bell ‘61 “Fawn” Vox® AC-15 combo cabinet, one 12 inch

Celestion® Alnico Blue speaker

212 Silver Bell Vox® AC-30 “Top Boost,” 2x12 inch Celestion® Alnico Silver

Bell speakers

412 Greenback 25 Marshall® cabinet, 4x12 inch Celestion® G12M “Greenback”

speakers

412 Blackback 30 Marshall® cabinet, 4x12 inch Celestion® Rola G12H30W

“Blackback” speakers

412 Brit T-75 Marshall® cabinet, 4x12 inch Celestion® G12T75 speakers

412 Uber Bogner Uberschall cabinet, 4x12 inch Celestion® speakers (2 x

G12T75 and 2 x Vintage 30 speakers)

* All product names are trademarks of their respective owners, which are in no way associated or affiliated with Line 6. These product names and descriptions are provided for the sole purpose of identifying the specific products that were studied during Line 6’s sound model
development. Fender®, Twin Reverb®, Bassman® and Deluxe Reverb® are registered trademarks of Fender Musical Instruments Corporation. Vox® is a registered trademark of Vox R&D Limited. Marshall® is a registered trademark of Marshall Amplification Plc. Dr. Z®
is a registered trademark of Dr. Z Amps, Inc. Mesa/Boogie® and Dual Rectifier® are registered trademarks of Mesa/Boogie, Ltd. Engl® is a registered trademark of Beate Ausflug and Edmund Engl. Hiwatt® is a registered trademark of Fernandes Company, Ltd. Fane® is a
trademark of Fane International. Gibson® is a registered trademark of Gibson Guitar Corp. Supro® is a registered trademark of Zinky Electronics. Ampeg® is a registered trademark of St. Louis Music, Inc.

Amp, Cab & Mic Models

POD HD Cab Models

Cab Model Based On...*

412 Tread V-30 Mesa/Boogie® cabinet, 4x12 inch Celestion® Vintage 30

speakers

412 XXL V-30 Engl® Pro cabinet, 4x12 inch Celestion® Vintage 30 speakers

115 Flip Top Ampeg® Custom Design, CTS 15 inch speaker (Bass Cab)

6•15

* All product names are trademarks of their respective owners, which are in no way associated or affiliated with Line 6. These product names and descriptions are provided for the sole purpose of identifying the specific products that were studied during Line 6’s sound model
development. Fender®, Twin Reverb®, Bassman® and Deluxe Reverb® are registered trademarks of Fender Musical Instruments Corporation. Vox® is a registered trademark of Vox R&D Limited. Marshall® is a registered trademark of Marshall Amplification Plc. Dr. Z®
is a registered trademark of Dr. Z Amps, Inc. Mesa/Boogie® and Dual Rectifier® are registered trademarks of Mesa/Boogie, Ltd. Engl® is a registered trademark of Beate Ausflug and Edmund Engl. Hiwatt® is a registered trademark of Fernandes Company, Ltd. Fane® is a
trademark of Fane International. Gibson® is a registered trademark of Gibson Guitar Corp. Supro® is a registered trademark of Zinky Electronics. Ampeg® is a registered trademark of St. Louis Music, Inc. Celestion® is a registered trademark of Celestion International Ltd.
Jensen® is a registered trademark of Jensen Loudspeakers and Audiovox Corporation.

FX mOdelS

POD HD500X® includes a plethora of amazing FX Models, primarily from the popular
Line 6 M13 Stompbox Modeler! This chapter provides Reference Tables showing all
POD HD500X FX Models by category, as well as details on their parameters. FX Model
parameters are all accessible within the Edit Mode. Please see “FX Edit Mode” on page

5•1 for details on Edit Mode features.

TIP: For more details about the POD HD500X FX Models, please also check out the POD HD

Model Gallery

support/manuals/

Dynamics Models

Model Parameters

Noise Gate Threshold Decay -- -- --

Hard Gate Open Threshold Close Threshold Hold Decay --

and M13 Advanced Guide documents, available from http://line6.com/

.

Dynamics FX Models - Parameter Reference Table

FX Models

Tube Comp Threshold Level -- -- --

Red Comp Sustain Level -- -- --

Blue Comp Sustain Level -- -- --

Blue Comp Treb Sustain Level -- -- --

Vetta Comp Sensitivity Level -- -- --

Vetta Juice Amount Level -- -- --

Boost Comp Drive Bass Comp Treble Output

Common Parameters

The following parameters are common to most Dynamics FX Models.

• Threshold: For compressor FX, lower values result in greater compression, along
with an automatic makeup gain stage dependent upon the Threshold setting.

• Sustain: Some compressors include Sustain, which is much the same as a Threshold
control, but functions in reverse - higher settings add more compression and thus
more sustain and squishy goodness.

• Level: Adjusts overall volume - higher settings typically offer an output boost.

7•1

FX Models

7•2

Distortion Models

Distortion Model - Parameter Reference Table

Model Parameters

Tube Drive Drive Bass Mid Treble Output

Screamer Drive Bass Tone Treble Output

Overdrive Drive Bass Mid Treble Output

Classic Dist Drive Bass Filter Treble Output

Heavy Dist Drive Bass Mid Treble Output

Color Drive Drive Bass Mid Treble Output

Buzz Saw Drive Bass Mid Treble Output

Facial Fuzz Drive Bass Mid Treble Output

Jumbo Fuzz Drive Bass Mid Treble Output

Fuzz Pi Drive Bass Mid Treble Output

Jet Fuzz Drive Fdbk Tone Speed Output

Line 6 Drive Drive Bass Mid Treble Output

Line 6 Distortion Drive Bass Mid Treble Output

Sub Octave Fuzz Drive Bass Sub Treble Output

Octave Fuzz Drive Bass Mid Treble Output

Common Parameters

The following parameters are common to most Distortion FX Models.

• Drive: Adjusts the amount of overdrive, distortion or fuzz.

• Bass: Adjusts Bass EQ level

• Mid: Adjusts the Midrange EQ level.

• Treble: Adjusts Treble EQ level.

• Output: Adjusts overall volume level - higher settings offer an output boost.

Modulation Models

Modulation Models - Parameter Reference Table

Model Parameters

Pattern Tremolo Speed Step 1 Step 2 Step 3 Step 4

Panner Speed Depth Shape VolSens Mix

Bias Tremolo Speed Level Shape VolSens Mix

Opto Tremolo Speed Level Shape VolSens Mix

Script Phase Speed -- -- -- --

Panned Phaser Speed Depth Pan Pan Spd Mix

Barberpole Phaser Speed -- Fdbk Mode Mix

Dual Phaser Speed Depth Fdbk LFO Shp Mix

U-Vibe Speed Depth Fdbk VolSens Mix

Phaser Speed Depth Fdbk Stages Mix

Pitch Vibrato Speed Depth Rise VolSens Mix

Dimension Sw1 Sw2 Sw3 Sw4 Mix

FX Models

7•3

Analog Chorus Speed Depth Ch Vib Tone Mix

Tri Chorus Speed Depth Depth2 Depth3 Mix

Analog Flanger Speed Depth Fdbk Manual Mix

Jet Flanger Speed Depth Fdbk Manual Mix

AC Flanger Speed Width Regen Manual --

80A Flanger Speed Range Enhance Manual Even Odd

Frequency Shifter Freq Mode -- -- Mix

Ring Modulator Speed Depth Shape AM/FM Mix

Rotary Drum Speed Depth Tone Drive Mix

Rotary Drm/Hrn Speed Depth Horn Dep Drive Mix

FX Models

7•4

Common Parameters

The following parameters are common to most Modulation FX Models.

• Speed: Adjusts the modulation/oscillation/tremolo speed for the effect, with higher
settings providing faster rates. Note that the Speed can be adjusted to a Hz value or
Note Division:

• Choosing a Hz value provides a specic modulation speed in cycles per
second.

• Choosing a Note Division value provides a time that is based on the current

Tap Tempo (see “Tap Tempo” on page 1•4).

• Depth: Adjusts the intensity of the modulation. Higher settings result in more
extreme pitch bending, wobble or throb, depending on the effect.

• Fdbk (Feedback): The amount of delayed signal that is fed back into the effect.
Higher settings can provide more dramatic textures.

• Mix: Sets the balance of the “Dry” and “Wet” signals. At 0% no effect is added to
your signal; at 100% you will hear the effected signal only. For Chorus, Flanger &
Phase FX, results are typically best with the Mix set between 0 to 50%. For Vibrato,
Tremolo and Rotary FX, try the Mix at 90 - 100%. Feel free to experiment!

Note that the Script Phase, Pattern Tremolo , AC Flanger & 80a Flanger do not offer a Mix

parameter. Their dry/wet balance is “xed” just like the classic pedals that inspired them!

Filter Models

Filter Models - Parameter Reference Table

Model Parameters

Voice Box Speed Start End Auto Mix

V-Tron Start End Speed Mode Mix

Q Filter Freq Q Gain Type Mix

Vocoder Mic Input -- Decay Mix

Seeker Speed Freq Q Steps Mix

Obi Wah Speed Freq Q Type Mix

Filter Models - Parameter Reference Table

Model Parameters

Tron Up Freq Q Range Type Mix

Tron Down Freq Q Range Type Mix

Throbber Speed Freq Q Wave Mix

Slow Filter Freq Q Speed Mode Mix

Spin Cycle Speed Freq Q VolSens Mix

Comet Trails Speed Freq Q Gain Mix

Octisynth Speed Freq Q Depth Mix

Synth O Matic Freq Q Wave Pitch Mix

Attack Synth Freq Wave Speed Pitch Mix

Synth String Speed Freq Attack Pitch Mix

Growler Speed Freq Q Pitch Mix

Common Parameters

The following parameters are common to most Filter FX Models.

FX Models

7•5

• Frequency: Selects the center frequency used by the eect.

• Q: Adjusts the frequency width of the lter in use.

• Speed: Adjusts the rate of the model’s modulation or oscillators, can be adjusted
to a Hz value or Note Division:

• Choosing a Hz value provides a specic modulation speed in cycles per
second.

• Choosing a Note Division value provides a time that is based on the current

Tap Tempo (see “Tap Tempo” on page 1•4)

• Mix: Sets the balance of the “Dry” and “Wet” signals. At 0% no eect is added to
your signal; at 100% you will hear the eected signal only. For most Filter FX, try

the 100% setting to achieve the full weirdness factor.

FX Models

7•6

Pitch Models

Pitch Models - Parameter Reference Table

Model Parameters

Bass Octaver Tone Normal Octave -- --

Pitch Glide Pitch -- -- -- Mix

Smart Harmony Key Shift Scale -- Mix

Pitch FX Model Parameters

Since these FX are a bit more complex, we’ve provided examples of each Pitch FX
Model’s Edit Mode screen and parameter descriptions.

Bass Octaver

• Tone: The overall tone of the eect.

• Normal: Controls the volume of the dry signal.

• Octave: Controls the volume of the processed, octave signal.

Pitch Glide

FX Models

This eect is best used by assigning your POD® HD500X pedal to the Pitch parameter
to “wham” out some wild pitch-bending eects!

• Pitch: Manually lets you select the Pitch. For best results you’ll want to set your
heel and toe values using your POD HD500X pedal!*

• Mix: Controls the balance of wet & dry signals.

*Note: To assign your pedal, double tap on the MOVE button and choose “Pitch” as the parameter
to be controlled (see “Expression Pedal & Variax® Knob Controller Assignment” on page

). Try setting the MIN VALUE to 0% and the MAX to 100% to allow your pedal to sweep

3•6

the full Pitch range, and set the MIX to 100% to hear only the pitched signal.

Smart Harmony

7•7

Select a Scale, Key and Shift value and our DSP algorithms will do the rest, producing a
perfect harmony note along with your guitar riffs.

The available parameters are:

• Key: Select the Key you’ll be playing in.

• Shift: Determines the interval value for the desired harmony note.

• Scale: Select the Scale you’d like to use (see the following instructions and table).

• Mix: Sets the balance or your dry signal + harmony notes.

The Smart Harmony eect automatically detects your guitar’s single-note pitch and

shifts it to match a user-selected Key and Scale. A choice of Keys is provided - Consult
the table below to achieve other scalic modes.

FX Models

7•8

• Choose your Key on the left, then your mode on the top.

• The cell where the two connect is the Key to choose to get to the mode you’d like.
For example, for C - Lydian, the Scale you want is G Major.

Mode

Key Ionian Dorian Phrygian Lydian Mixolydian Aeolian Locrian

A

B

C

D

E

F

G

A Maj G Maj F Maj E Maj D Maj C Maj Bb Maj

B Maj A Maj G Maj Gb Maj E Maj D Maj C Maj

C Maj Bb Maj Ab Maj G Maj F Maj Eb Maj Db Maj

D Maj C Maj Bb Maj A Maj G Maj F Maj Eb Maj

E Maj D Maj C Maj B Maj A Maj G Maj F Maj

F Maj Eb Maj Db Maj C Maj Bb Maj Ab Maj Gb Maj

G Maj F Maj Eb Maj D Maj C Maj Bb Maj Ab Maj

Smart Harmony Model - Scale Reference Table

Preamp+EQ Models

Preamp+EQ Models - Parameter Reference Table

Model Parameters

Graphic EQ 80Hz 220Hz 480Hz 1.1kHz 2.2kHz

Parametric EQ Lows Highs Freq Q Gain

Studio EQ Low Freq Low Gain Hi Freq Hi Gain Gain

4 Band Shift EQ Low Low Mid Hi Mid Hi Shift

Mid Focus EQ Hi Pass Freq Hi Pass Q Low Pass Freq Low Pass Q Gain

Vintage Pre Gain Output Phase Hi Pass Filter Lo Pass Filter

Common Parameters

The following parameters are common to EQ Models.

• Frequency (as well as Low, Mid, High): Selects the center frequency or range

for the particular EQ Band. (The Graphic EQ model includes “xed” Bands where

the gain is adjustable for each.)

FX Models

• Q: Adjusts the frequency width or shape of the frequency band lter.

• Gain: Adjust the output level of the particular Band. (The Gain parameters
accessed by Multi-function Knob #4 adjust the overall output level.)

Vintage Pre

This Model is a vintage-voiced, mono tube mic preamp based on* the Requisite® Y7
vintage Tube Mic Preamp, excellent for use with your Mic source input, Variax acoustic
guitar models, or even in conjunction with Bass or Guitar Amps, anywhere in the signal
path, to provide some nice tube warmth.

• Gain: Dial in the amount of input gain - higher levels will add some tube distortion.

7•9

• Output: Determines the nal output level, capable of a signicant signal boost.

• Phase: Choose 0 for normal, or 180 to reverse the phase. (It can sometimes
be necessary to reverse the phase of one mic’ed signal when combined with
another, to correct for a resulting “hollow,” out-of-phase sound.)

• HPF: A High Pass Filter to reduce bass frequencies. Increase this Hz value to

choose where the low frequency reduction begins.

• LPF: A Low Pass Filter to reduce treble frequencies. Decrease this KHz value to
choose where the high frequency reduction begins.

*

Requisite® is a registered trademark of Requisite Audio Engineering.

FX Models

Delay Models

Delay Models - Parameter Reference Table

Model Parameters

Ping Pong Time Fdbk Oset Spread Mix

Dynamic Dly L Time L Fdbk R Time R Fdbk Mix

Stereo Delay Time Fdbk Thresh Ducking Mix

Digital Delay Time Fdbk Bass Treble Mix

Dig Dly W/Mod Time Fdbk ModSpd Depth Mix

Reverse Time Fdbk ModSpd Depth Mix

Lo Res Delay Time Fdbk Tone Res Mix

Tube Echo Time Fdbk Wow/Flt Drive Mix

Tube Echo Dry Time Fdbk Wow/Flt Drive Mix

Tape Echo Time Fdbk Bass Treble Mix

7•10

Tape Echo Dry Time Fdbk Bass Treble Mix

Sweep Echo Time Fdbk Swp Spd Swp Dep Mix

Sweep Echo Dry Time Fdbk Swp Spd Swp Dep Mix

Echo Platter Time Fdbk Wow/Flt Drive Mix

Echo Platter Dry Time Fdbk Wow/Flt Drive Mix

Analog W/Mod Time Fdbk ModSpd Depth Mix

Analog Echo Time Fdbk Bass Treble Mix

Auto-Volume Echo Time Fdbk ModDep Swell Mix

Multi-Head Time Fdbk Heads 1-2 Heads 3-4 Mix

Common Parameters

The following parameters are common to most Delay FX Models.

• Time: Adjusts the delay/repeat time, with higher settings providing longer delays.
Time can be adjusted to a MS value or Note Division:

• Choosing a MS value provides a specic time in milliseconds.

• Choosing a Note Division value provides a time that is based on the current

Tap Tempo (see “Tap Tempo” on page 1•4).

• Fdbk (Feedback): Sets the number of delayed repeats.

• Depth: Some delays include modulation. These will typically include a Depth
parameter to adjust the intensity of the pitch modulation applied to the repeats.

• ModSpd: Control the speed of the pitch modulation.

• Mix: Sets the balance of the “Dry” and “Wet” signals. At 0% no effect is added to
your signal; at 100% you will hear the delayed signal only.

Reverb Models

Reverb Models - Parameter Reference Table

Model Parameters

Plate Decay PreDelay Tone Mix

Room Decay PreDelay Tone Mix

FX Models

Chamber Decay PreDelay Tone Mix

Hall Decay PreDelay Tone Mix

Echo Decay PreDelay Tone Mix

Tile Decay PreDelay Tone Mix

Cave Decay PreDelay Tone Mix

Ducking Decay PreDelay Tone Mix

Octo Decay PreDelay Tone Mix

Spring Decay PreDelay Tone Mix

‘63 Spring Decay PreDelay Tone Mix

Particle Verb Dwell Condition Gain Mix

7•11

FX Models

7•12

Common Parameters

The following parameters are common to all Reverb Models, with the exception of the
Particle Verb Model, which we’ve described separately.

• Decay: Sets the length of time the reverb effect sustains.

• Predelay: Configures the time before the reverb effect is heard.

• Tone: Adjusts the overall Tone of the wet reverb signal. Higher settings provide a
brighter, more reflective reverb quality.

• Mix: Sets the balance of the dry & wet signals, from 0% (dry signal only) to 100%
(wet reverb signal only).

Particle Verb

A new kind of reverb eect which turns your chords into a lush modulated pad in
STABLE mode. CRITICAL mode is similar, but with a slight rise in pitch. In HAZARD
mode, all stops are removed. The parameters for this model dier from the other

Reverbs:

• Dwell: Essentially a decay parameter, which adjusts the length of time the reverb
tail lasts.

• Condition: Choose between STABLE, CRITICAL and HAZARD here for some
different reverb experiences!

• Gain: Sets overall output level of the effect.

Volume/Pan & Wah Models

The Volume/Pan and Wah sets of Models are all just waiting to be put to use with your
POD HD500X pedal! To follow is info on the FX parameters & some tips on using them.

When you add any Volume or Wah model to your tone, they are automatically assigned to
be controlled with your POD HD500X Expression Pedal! Please see “Expression Pedal &

Variax® Knob Controller Assignment” on page 3•6

Volume/Pan Models - Parameter Reference Table

Model Parameter

Volume Volume Level

Pan Pan L-R Balance

Volume

for more information.

FX Models

7•13

Volume: Adjusts the signal level. 100% is unity gain. This parameter can be accessed
via the Multi-function knob at any time. With your EXP Pedal assigned to control the
Volume, you’ll see this Volume parameter visually adjust with the pedal as well.

FX Models

7•14

Pan

• Pan: Adjusts the signal balance sent to the let and right stereo channels. 0%

sends full left, 50% sends equally left & right, and 100% sends full right.

The audible eect heard when using the Pan can dier quite a bit depending on the

position in your signal chain and what types of FX follow it. Here are a few examples:

Before Path A & B split

Pan positioned before Path A & B split

When placed here, your guitar signal is panned left to Path A and right to Path B. This
can be a cool way to “blend” the sounds of two Amp models.

After Path A & B Mixer

Pan positioned after Path A & B Mixer

In this position, the stereo left & right signals fed into the Pan is determined by your
Mixer Pan settings. The Pan effect then pans these signal to the left and right main
outputs. Obviously, you’ll only benefit from using the Pan in this post-Mixer position
when utilizing both the left and right outputs from POD HD500X.

Placing a Mono Output FX Model after the Pan

Mono FX Model (EQ) positioned after Pan

Just as with all stereo FX Models, when a mono FX Model is placed after the Pan,
the Pan Model’s output will become “mono-ized, as described in “Model Types and

Mono/Stereo Signal Routing” on page 3•5. Therefore, you’ll typically want to

avoid placing a mono FX Model later within the same signal path as the Pan Model.

Wah Models

Wah Models - Parameter Reference Table

Model Parameters

Fassel Position Mix

Conductor Position Mix

Throaty Position Mix

FX Models

7•15

Colorful Position Mix

Vetta Wah Position Mix

Chrome Position Mix

Chrome Custom Position Mix

Weeper Position Mix

Common Parameters

Each Wah oers the following two parameters:

• Position: This controls the “sweep” of the Wah. Any Wah Model is best used
with this parameter assigned to your pedal, however, you can also access this
parameter with the Multi-function Knob, such as to dial in a “parked” Wah tone.

• Mix: Sets the balance of the “Dry” and “Wet” signals. At 0% no Wah eect is

added to your signal; at 100% you will hear the Wah-eected signal only. Try
lowering the Mix to less than 100% for a more subtle eect!

lOOper mOde

The Looper in POD® HD500X oers you up to 48 seconds of mono recording time
(in Half-Speed Mode) or 24 seconds recording time (in Normal Mode), as well as the

ability to undo, record overdubs, playback Loops at half speed, in reverse, and more!

Looper Footswitch Controls & Performance View

When you engage the Looper mode, the POD HD500X footswitches control the
Looper according to their function labels, providing hands-free operation.

Using the Looper

The Looper footswitch controls

Additionally, the LCD Performance View displays the behavior of several Looper
functions. You can think of these as “this is what will happen when the respective
footswitch is pressed” indicators. Press the

you use the Looper. (Also see the Looper FS Display options - “Page 1, Setup: Utilities

Options” on page 2•1.)

The Performance View, Looper functions

VIEW button to show this screen whenever

8•1

Using the Looper

To follow are descriptions for each of the footswitch functions and Performance View
while Looper mode is active.

PLAY ONCE - Pressing the FS2 switch plays your recorded Loop (including overdubs,

if you’ve recorded any) for one cycle. Cool for triggering a pre-recorded phrase on
demand!

LOOPER - Toggles Looper Mode On/O. When this switch’s LED is lit, the POD

HD500X Looper Mode is active. The Performance View screen will display the
Looper functions when the Looper is active, as shown above.

UNDO - Use the FS1 switch to “undo” the last recorded overdub. You can press

this footswitch while actively in Overdub-Record mode, Loop Playback mode,
or while stopped and only the last recorded overdub is erased. This function
will not erase the originally recorded Loop.

8•2

•

While playback is active, the Play/Stop icon appears as “STOP,” to indicate
that it can be pressed to stop playback immediately.

PRE/POST - Toggling the FS3 switch determines the position of the Looper in your Signal

Flow, which dictates whether Amp & FX processing is added to your guitar signal
during the recording of your Loop, or only for the Loop’s playback.

PRE (FS3 switch light is Off): Your guitar signal is recorded unprocessed (i.e. - the

•
Loop is recorded “pre” Amp & FX processing). When played back, the Loop audio
is mixed with incoming guitar to feed the current Preset’s Amp & FX processing. If
you change Presets or tone settings while set to

PRE, you’ll hear them applied to your

Loop playback.

•

•

POST(FS3 switch light is on): Your guitar signal is recorded processed (i.e. - the Loop is

When the Looper is set to PRE, the Pre/Post icon appears as “POST,”

to indicate that pressing the

POST.

PRE/POST footswitch will set the Looper to

recorded “post” Amp & FX processing). When played back, the Loop audio is mixed
with incoming guitar AFTER the guitar signal has been processed through the Amp
and FX. This provides the ability select a new Preset which is applied only on your
guitar input, while the Loop plays back with the original recorded Preset tone!

Using the Looper

• When the Looper is set to POST, the Pre/Post icon appears as “PRE,”
to indicate that pressing the

PRE.

Note: If you record your Loop in POST mode and then switch to PRE for Loop playback,
this results in the current Amp+FX to be applied to the Loop playback (where the Loop was
already recorded with Amp+FX applied). Be aware that this can cause the Loop playback to be

signicantly louder!

REC/OVERDUB - To record a Loop, step on the FS5 switch and POD HD500X will

PRE/POST footswitch will set the Looper to

immediately start recording. The footswitch will remain lit while recording is active.
You’ll see the Performance View display the following:

•

The Record function shows “DUB IN.” Pressing the REC/OVERDUB switch
will immediately put you into Overdub-Record mode.

•

If you press REC/OVERDUB at this time, whatever you play will be
recorded on top of the original Loop recording, and you’ll see the
Performance View indicator show “DUB OUT.” Press the switch again
to stop the overdub recording.

•

The Play/Record function shows “STOP” to indicate that pressing the PLAY/

STOP

switch will stop playback & recording.

Once you have a Loop recorded, you can layer an overdub on top of your current
Loop at any time. Simply play back the Loop and step on the

REC/OVERDUB switch

while the Loop is playing. Your new live guitar will be recorded on top of your previously
recorded Loop. You can repeat this step and layer as many overdubs as you like!

Note: If you press REC/OVERDUB while Loop playback is stopped, this will always

record a new Loop, and any previously recording will be discarded.

8•3

Using the Looper

PLAY/STOP - Press the FS6 switch to toggle Play/Stop for your recorded Loop. If you

are actively recording a Loop, press this switch to stop recording set your Loop “out”
point. The

FS6 switch remains lit whenever playback is active.

8•4

•

1/2 SPEED - Press the FS7 switch to toggle the 1/2 Speed feature On/O. The FS7 switch

While playback is active, the Play/Stop icon appears as “STOP.”

remains lit whenever 1/2 Speed is active.

Note that you can use the 1/2 Speed option for recording as well as playback. Specic behaviors

apply to each - please see “1/2 Speed Operation” on page 8•6.

• When 1/2 Speed is active, the Speed icon appears as “FULL.”

•

REVERSE - Press the FS8 switch to toggle the Reverse Play feature On/O. All Loop

playback is backwards when on. The

•

When 1/2 Speed is Off, the Speed icon appears as “1/2.”

FS8 switch remains lit whenever Reverse is active.

When Reverse is active, the Reverse icon appears as “FWD.”

•

When Reverse is Off, the Reverse icon appears as “REV.”

Looper Settings

Press the VIEW button to display the Signal Flow View screen and select the Looper to
access several additional settings.

The Signal Flow View screen, Looper options

• 1 Playback - Use Multi-function Knob 1 to adjust the Looper playback volume.
You may find it useful to turn this down a bit so that your live guitar can be slightly
louder.

• 2 Overdub - Use Multi-function Knob 2 to determine the volume of your loop in
Overdub mode. For example, if your Overdub Level is set to 90%, each time your
loop begins a new overdub its volume will be reduced by 10%, sounding quieter and
quieter with each overdub pass.

• 3 Hi Cut & 4 Lo Cut - Use Multi-function Knobs 3 & 4 to adjust these EQ options,
to reduce the treble and bass of your Loop playback. It can be helpful to reduce these
to optimize the “mix” of your Loop playback with your live guitar. These controls
reduce the High and Low frequencies more as you raise their values.

Using the Looper

8•5

Using the Looper

1/2 Speed Operation

The Looper utilizes both the 1/2 Speed and Full Speed options for recording and

playback. These options directly aect the maximum Loop recording time.

Specic behaviors apply, as follows:

POD HD500X Looper Record

Time

Full Speed 24 Seconds maximum

1/2 Speed 48 Seconds maximum

• Full Speed: When set to Full Speed before recording, the Looper provides up to
24 seconds max. recording time.

• Playback of the recorded Loop at the Full Speed setting is heard just as
recorded.

• If you change the setting to 1/2 Speed, your recorded Loop is played back at
half speed, as well as pitched one octave lower.

• 1/2 Speed: When set to 1/2 Speed before recording, the Looper provides up to
48 seconds maximum recording time.

8•6

• Playback of the recorded Loop at the 1/2 Speed setting is heard just as
recorded.

• If you change the setting to Full Speed, your recorded Loop is played back at
double speed, as well as pitched one octave higher.

uSb audiO

In this chapter, we’ll cover the USB audio capabilities of POD® HD500X. With the

installation of the Line 6 USB audio driver, you can use POD HD500X as a high quality

audio interface for your Mac® or Windows® computer!

The Line 6 USB Audio Driver

Before you connect POD HD500X to your computer, it is recommended that you
download and install the free Line 6 POD HD500X Edit software. This installs the

necessary Line 6 USB Audio Driver*, as well as the Line 6 Monkey update utility (also

see “Launch Line 6 Monkey” on page A•1).

*NOTE: As of the POD HD500X USB Device Driver version 5.7.0, Mac OS® X 10.4 (Tiger®) is
no longer supported. To use the POD HD500X USB connection with a Mac® running OS® X

10.4, you’ll need to download and install the earlier POD HD500X Driver version 5.1.2, available
from http://line6.com/software/.

USB Audio

The Line 6 Software Downloads site - selecting the POD HD500X Edit software

Once installation is complete, just connect your device directly to a USB 2.0 port on

your computer and power On your POD HD500X. Note that POD HD500X requires the
use of a USB 2.0 port on your computer (not into a USB hub).

Also see the POD HD500X Edit Installer Guide and the POD HD500X Edit Pilot’s

, available from http://line6.com/support/manuals.

Guide

9•1

USB Audio

Audio Routing

When using the POD HD500X USB connection, the audio driver manages several
tasks. The driver feeds the processed guitar signal out the USB Record Send to your
computer and receives playback audio from the computer. It also grabs the processed
guitar signal before routing it to the Record Send, to provide a low latency monitor
signal, and then mixes the monitor signal with the playback audio and feeds this
combined signal to your POD HD500X analog outputs.

Note that all USB audio is muted whenever a L6 LINK™ connection is active between POD

HD500X and a DT50™ or DT25™ amplier.

Mix of monitor signal + playback
audio fed to analog outputs

Playback audio
from computer

9•2

Record Send
audio to
computer

USB audio routing provided by the Line 6 USB audio driver

The POD HD500X Record Send

As shown above, the Record Send is the virtual “pipeline” that carries your POD HD­processed, 24-bit digital signal across the USB connection, making it available to your
audio software as an input signal for recording.

The POD HD500X Record Send appears as an available audio input/recording device
within your audio software. Simply select this Send as the input for your audio track
and you’ll be able to record your POD HD500X signal. The level of the signal fed to

the Send is aected by your POD HD500X controls: Mixer block Volume A & B, Amp
Model Drive & Volume, FX Model Gain controls, Volume Pedal, etc., (but not the Master
Volume knob). For the best recording quality, watch the input meters provided in your

software and adjust your level to be at least halfway up, but never “clipping.”

Note that the type of audio signal fed to the Record Sends is controlled by the Output Mode
setting found in the POD HD500X Setup:Outputs screen. For most USB recording
situations, you’ll likely want to set this to “Studio/Direct.” Please see “Page 4, Setup: Output

Options” on page 2•7

for more info.

The Line 6 Audio-MIDI Devices Panel

The Line 6 Audio-MIDI Devices utility is the place where you congure various audio
driver settings. The options in the Line 6 Audio-MIDI Devices dialog are slightly dierent

if you are on a Mac® versus a Windows® system. See the following descriptions that
match your setup: For Mac® see next section, or for Windows® see page 9•9.

Mac® - Line 6 Audio-MIDI Devices

Launch the Line 6 Audio-MIDI Devices utility from within the Mac® System
Preferences. This utility provides access to several driver options.

Line 6 Audio-MIDI Settings - Driver Options (Mac®)

USB Audio

2

1

4

3

9•3

5

6

7

The Line 6 Audio-MIDI Settings window - Driver page

USB Audio

1

Device Selector: Select your POD HD500X here. If you have more than one supported

Line 6 audio device connected, each will be selectable in this list.

2

Driver Version: Displays the current device’s installed driver version number.

3

ESN: Displays the current device’s unique Electronic Serial Number.

4

Driver/Inputs & Recording Selector: Choose between displaying the two pages of

the Driver Options window. (Also see “Inputs & Recording Page” on page 9•4.)

5

Run Audio MIDI Setup: Mac® Core Audio interface driver settings are congured in

the Mac OS

®

X Audio MIDI Setup utility. This button launches this dialog for you (see

“Mac OS® X Audio MIDI Setup Utility” on page 9•6).

6

Sample Rate Converter Active: You’ll see this indicator light up whenever the device

is operating at a sample rate other than its native 48kHz rate. In addition to 48kHz, POD
HD500X supports 44.1kHz, 88.2kHz and 96kHz rates by utilizing an internal sample

rate converter. Please check your specic software’s documentation for details on
conguring its audio sample rate.

7

USB Audio Streaming Buffer: Adjusts the buer size for the audio responsiveness

of the Input Monitoring signal. Basically, the default setting should be ne for most

systems, but if getting audio dropouts or working with large CPU demands on your
system, raise the slider a notch or two to the right until it alleviates the problem.

9•4

Inputs & Recording Page

8

9

The Line 6 Audio-MIDI Settings window - Inputs & Recording page

USB Audio

8

Record Sends List: Displayed here are the Record Sends for the current Line 6

device that will be available to your audio software. For POD HD500X you’ll see the
one, stereo “1-2 Main Out” Record Send.

9

Hardware Monitor Level: This slider independently controls the volume of your

processed guitar tone output for monitoring (the signal fed to the device’s main

outputs). It does not aect the level of the signal fed to your computer via the Record
Send. This allows you to balance your guitar’s monitor level against the playback audio
from your computer, such as when recording in DAW software.

If using POD HD500X as the audio interface for recording into a DAW application, then your
DAW may also offer its own “software monitoring” function. You may want to use the DAW’s
software monitoring in some scenarios, such as if you want to hear your guitar signal processed
with plug-ins on the DAW track. When utilizing DAW software monitoring, you’ll want to set this
slider’s level to minimum to allow you to hear only the DAW software monitoring signal.

9•5

USB Audio

Mac OS® X Audio MIDI Setup Utility

POD HD500X utilizes the Mac® Core Audio driver type, making it a compatible audio
interface for practically any Mac® audio/multimedia software. As with most Core
Audio devices, some settings are found in the Audio Devices page of the Mac® Audio
MIDI Setup dialog. Note that there are two screens of settings for this window: Input
and Output. You’ll see similar options in both these screens, but their settings pertain
to the selected device’s Input and Output drivers, respectively.

A

B

D

E

9•6

C

The Audio MIDI Setup utility, Input screen (Mac OS® X 10.6 and later*)

*Note: The Audio MIDI Setup utility window within Mac OS® X version 10.5 has a slightly different
layout, but offers the same options and functionality as described here.

USB Audio

A

Input - Output Screen Selector Use these buttons to view the respective options

within this window.

B

Device List: Select your POD HD device in the list here to display its settings within

the window.

C

Default Audio Device Options: With your POD HD device selected in the Device

List, click on the little gear button here to congure POD HD to be the default input

and/or output audio device for your Mac® applications.* When you select any of these
options, you’ll see the respective icon appear to the right of POD HD in the above
Device List to indicate it is set as the default device for this action.

*Note that most DAW applications (such as GarageBand, Logic, Ableton Live, etc.) allow you to
select their audio input/output device within their own Preferences, independently of the settings
you make here.

• Use this device for sound input: Select this option if you want your Mac®
applications to use POD HD as the default input device for audio recording.

• Use this device for sound output: Select this option if you want your Mac®
applications to use POD HD as the default output device, such as for iTunes® music
playback.

• Play alerts and sound eects through this device: This option sets all the
system dings and beep alerts play through the selected device. You probably do NOT
want to select this, unless you like hearing these Mac® alerts blaring at high volume
along with your POD HD guitar and audio playback for some reason!

D

Format: These options show you the Sample Rate* and Bit Depth at which POD

HD is operating for recording (when viewing the Input screen) and playback (when
viewing the Output screen). The Bit Depth for POD HD is xed at 24 bit.

9•7

USB Audio

*It is recommended that you do not use the Sample Rate selectors in this window to set your
sample rate when your audio software is running. Typically, your audio software will offer a sample
rate option within its own “Preferences” settings, which is where you should change the rate.

E

Volume sliders: These sliders oer level adjustment for the selected device.

• When viewing the Audio Device - Input screen (as shown above) the sliders control
the level of the Record Send signal fed to your recording software. These sliders can
be used to fine tune your DAW software’s recording level. Note that these sliders
offer a max level of +18dB, which can apply a boost to your input signal if needed.

• When viewing the Audio Device - Output screen (as shown in the following
screenshot) the sliders control the stereo level for your software’s audio playback fed
to POD HD. These sliders can be used to independently adjust the USB playback
audio versus your guitar input signal.

9•8

The Audio MIDI Setup utility, Output screen (Mac OS® X 10.6 and later)