Line 6 POD xt, POD xt Pro User Manual

POD

ULTIMATE TONE FOR GUITAR

POD

ULTIMATE TONE FOR GUITAR

POD

ULTIMATE TONE FOR GUITAR+DIG I/O

PRO

POD

ULTIMATE TONE FOR GUITAR+DIG I/O

PRO

Pilot’s Handbook

An in-depth exploration of the revolutionary technologies and pulsing tonal pleasures that lurk

use free line 6 Monkey to Make sure your Podxt is uP to

Electrophonic Limited Edition. Also available at www.line6.com. Revision H.

within PODxt and PODxt Pro.

includes details on Version 3 features.

date: www.line6.coM/Monkey

PODXT MODELS

PODXT, PODXT Live and PODXT Pro all include the Standard and Power Pack Models plus all guitar Cab Models.

See www.line6.com/modelpack to learn about adding other Model Pack Models.

STOMPS Standard Power Pack FX Junkie

FACIAL FUZZ FUZZ PI SCREAMER CLASSIC DIST

OCTAVE FUZZ BLUE COMP RED COMP

VETTA COMP

AUTO SWELL AUTO WAH

KILLER Z TUBE DRIVE VETTA JUICE BOOST + EQ BLUE COMP TREB DINGO-TRON CLEAN SWEEP SEISMIK SYNTH DOUBLE BASS BUZZ WAVE REZ SYNTH SATURN 5 RING M SYNTH ANALOG SYNTH FX SYNTH HARMONY SYNTH LEAD SYNTH STRING

BASS OVERDRIVE BRONZE MASTER SUB OCTAVES BENDER

REVERBS Standard Power Pack FX Junkie

LUX SPRING

STD SPRING

KING SPRING SMALL ROOM TILED ROOM

BRITE ROOM

DARK HALL

MEDIUM HALL

LARGE HALL RICH CHAMBER

CHAMBER CAVERNOUS SLAP PLATE

VINTAGE PLATE

LARGE PLATE

MODS Standard Power Pack FX Junkie

SINE CHORUS

ANALOG CHORUS

LINE 6 FLANGER

JET FLANGER

PHASER

U-VIBE

OPTO TREM

BIAS TREM

ROTARY DRUM +HORN

ROTARY DRUM AUTO PAN

ANALOG SQUARE SQUARE CHORUS EXPO CHORUS RANDOM CHORUS SQUARE FLANGE EXPO FLANGE LUMPY PHASE HI-TALK SWEEPER POD PURPLE X RANDOM S/H TAPE EATER WARBLE-MATIC

DELAY Standard Power Pack FX Junkie

ANALOG DELAY ANALOG W/ MOD TUBE ECHO

MUTLI-HEAD

SWEEP ECHO DIGITAL DELAY

STEREO DELAY

PING PONG

REVERSE

ECHO PLATTER TAPE ECHO LOW REZ PHAZE EKO BUBBLE ECHO

DELAYS Standard Power Pack FX Junkie

ANALOG DELAY ANALOG W/ MOD TUBE ECHO

MUTLI-HEAD

SWEEP ECHO DIGITAL DELAY

STEREO DELAY

PING PONG

REVERSE

ECHO PLATTER TAPE ECHO LOW REZ PHAZE EKO BUBBLE ECHO

WAHS Standard Power Pack FX Junkie

VETTA WAH

JEN FASSEL WEEPER CHROME CHROME CUSTOM THROATY CONDUCTOR COLORFUL

STANDARD & POWER PACK AMP MODELS # Standard Power Pack

0 BYPASS 1 TUBE PREAMP 2 LINE 6 CLEAN 3 LINE 6 JTS-45 4 LINE 6 CLASS A 5 LINE 6 MOOD 6 SPINAL PUPPET 7 LINE 6 CHEM X 8 LINE 6 INSANE 9 LINE 6 ACO 2 10 ZEN MASTER 11 SMALL TWEED 12 TWEED B-MAN 13 TINY TWEED 14 BLACKFACE LUX 15 DOUBLE VERB 16 TWO-T0NE 17 HIWAY 100 18 PLEXI 45

19 PLEXI LEAD 100 20 PLEXI JUMP LEAD 21 PLEXI VARIAC 22 BRIT J-800 23 BRIT JM PRE 24 MATCH CHIEF 25 MATCH D-30 26 TREADPLATE DUAL 27 CALI CRUNCH 28 JAZZ CLEAN 29 SOLO 100 30 SUPER O 31 CLASS A-15 32 CLASS A-30 TB 33 L6 AGRO 33 L6 LUNATIC 34 L6 TREADPLATE 36 VARIAX ACOUSTIC 101 CITRUS D-30 102 CLASS A-30 FAWN 103 BRIT GAIN 18 104 J-2000 #2 105 LINE 6 BOUTIQUE 106 LINE 6 MODERN GAIN #1

METAL SHOP AMPS # Amp Model

37 BOMBER UBER 38 CONOR 50 39 DEITY LEAD 40 DEITY’S SON 41 ANGEL P-BALL 42 BRIT SLIVER 43 BRIT J-900 CLN 44 BRIT J-900 DST 45 BRIT J-2000 46 DIAMOND PLATE 47 CRIMINAL 48 L6 BIG BOTTOM 49 L6 CHUNK CHUNK 50 L6 FUZZ 51 L6 OCTONE 52 L6 SMASH 53 L6 SPARKLE CLN 54 L6 THROTTLE

COLLECTOR CLASSICS AMPS # Amp Model

55 BOMBER X-TC 56 DEITY CRUNCH 57 BLACKFACE VIBRO 58 DOUBLE SHOW 59 SILVERFACE BASS 60 MINI DOUBLE 61 GIBTONE EXPO 62 BRIT BASS 63 BRIT MAJOR 64 SILVER TWELVE 65 SUPRO ‘62 THUDERBOLT 66 L6 BAYOU 67 L6 CRUNCH 68 L6 PURGE 69 L6 SPARKLE 70 L6 SUPER CLN 71 L6 SUPERSPARK 72 L6 TWANG

CAB MODELS # Cab Model

0 NO CAB 1 1X6 SUPER O 2 1X8 TWEED 3 1X10 GIBTONE 4 1X10 G-BRAND 5 1X12 LINE 6 6 1X12 TWEED 7 1X12 BLACKFACE 8 1X12 CLASS A 9 2X2 MINI T 10 2X12 LINE 6 11 2X12 BLACKFACE 12 2X12 MATCH 13 2X12 JAZZ 14 2X12 CLASS A 15 4X10 LINE 6 16 4X10 TWEED 17 4X12 LINE 6 18 4X12 GREEN 20’S 19 4X12 GREEN 25’S 20 4X12 BRIT T75 21 4X12 BRIT V30’S 22 4X12 TREADPLATE 23 1X15 THUNDER 24 2X12 WISHBOOK

GUITAR AMPS & CABS

BASS EXPANSION AMPS # Amp Model

73 TUBE PREAMP 74 L6 CLASSIC JAZZ 75 L6 BRIT INVADER 76 L6 SUPER THOR 77 L6 FRANKENSTEIN 78 L6 EBONY LUX 79 L6 DOPPELGANGER 80 SUB DUB 81 AMP 360 82 JAGUER 83 ALCEMIST 84 ROCK CLASSIC 85 FLIP TOP 86 ADAM AND EVE 87 TWEED B-MAN 88 SILVERFACE BASS 89 DOUBLE SHOW 90 EIGHTIES 91 HIWAY 100 92 HIWAY 200 93 BRIT MAJOR 94 BRIT BASS 95 CALIFORNIA 96 JAZZ TONE 97 STADIUM 98 STUDIO TONE 99 MOTOR CITY 100 BRIT CLASS A100

BASS EXPANSION CABS # Cab Model

25 1X12 BOUTIQUE 26 1X12 MOTOR CITY 27 1X15 FLIP TOP 28 1X15 JAZZ TONE 29 1X18 SESSION 30 1X18 AMP 360 31 1X18 CALIFORNIA 32 1X18+12 STADIUM 33 2X10 MODERN UK 34 2X15 DOUBLESHOW 35 2X15 CALIFORNIA 36 2X15 CLASS A 37 4X10 LINE 6 38 4X10 TWEED 39 4X10 ADAM EVE 40 4X10 SILVERCONE 41 4X10 SESSION 42 4X12 HIWAY 43 4X12 GREEN 20’S 44 2X12 GREEN 25’S 45 4X15 BIG BOY 46 8X10 CLASSIC

EFFECTS

BASS AMPS & CABS

1416

31 32 33 34 35 36

29 30

1318

MOD

2319

PODXT PRO CONTROLS REFERENCE

NAVIGATION REFERENCE

SELECT

• When EDIT, SAVE or TUNER is lit, “SELECT” selects pages

• Otherwise, “SELECT” chooses Channel Memories

MOD

• For Comp, Stomp, Mod, and Delay, the effect is on when lit.

• CAB/A.I.R. is lit when you are using a cab simulation.

• Double press an effect button to go straight to its EDIT page.

EDIT PAGES SAVE PAGES

TUNER PAGES

OUT/THRUIN

FBV Class Foot Controller only

(not compatible with Floor Board or FB4)

GROUND LIFT

L/MONO R/MONO LEFT RIGHT OUTIN

OUT

GROUND

ANALOG REAMPING INPUT/OUTPUT

LEFT/

MONO

RIGHT LEFT/

MONO

RIGHT

BALANCED ANALOG OUT AES/EBU S/PDIF

MIDI

Line Level

Input

Unprocessed

Guitar Out

100 - 120V

50 - 60Hz

100 W Max.

POWER REQUIREMENTS

USBPEDAL

UNBAL ANALOG OUT

N222

CAU TION

RISK OF ELECTRIC SHOCK

DO NOT OPEN

EFFECTS RETURNEFFECTS SEND

Unbalanced

Balanced: Tip = + / Ring = -

SET MODES & LEVELS VIA

I/O & DIG SELECT

BUTTON

SERIES/PARALLEL VIA

I/O & DIG SELECT

BUTTON

STUDIO:

RECORDING OUTPUT

LIVE:

FEED T O ONSTAGE AM P

STUDIO:

+4 dBu

LIVE:

-10 dBV

0 10 0 10 0 10

0 100 100 10

CLIP

SIGNAL

MIDDLE TREBLEBASSDRIVE PRESENCE

CHAN VOLREVERB OUTPUT

AMP MODELS

EFFECTS

Guitar inPHONES

0 10

I/O & DIG

SELECT

INPUT LEVEL

NORMAL PAD

PODPRO

ULTIMATE TONE FOR GUITAR + DIG I/O

POWER

0 10

WARNING/AVIS:

SHOCK HAZARD – DO NOT OPEN. RISQUE DE CHOC ÉLECTRIQUE – NE PAS OUVRIR. TO R EDUCE TH E RISK OF FIRE OR ELECTR IC SHOCK DO NOT EXPOSE THIS EQUIPMENT TO RAIN OR MOISTURE. TO RED UCE THE RISK OF ELECTRIC SHOCK DO NOT REMOVE COVER. NO USER SERVICEABLE PARTS INSIDE. REFER SERVICING TO QUALIFIED SERVICE PERSONNEL.

THIS DEVICE COMPLIES WITH PART 15 OF THE FCC RULES. OPERATI ON IS SUBJECT TO THE FOLL OWING TWO CONDITIONS: (1) THIS DEVICE MAY NOT CAUSE HARMFUL INTERFERENCE, AND (2) THIS DEVICE MUST ACCEPT ANY INTERFERENCE RECEIVED, INCLUDING INTERFERENCE THAT MAY CAUSE UNDESIRED OPERATION.

• Save Sound to Channel Memory

• Custom Save Amp Model

• MIDI Dump

• Tuner

• What are you connecting to?

• Display c ontrast

• MIDI/Variax

• PODXT Live Software Version

• Amp Settings

• Amp Bypass Settings

• A.I.R. Settings

• Compressor and Gate Settings

• EQ Settings

• Stomp Select and Settings

• Stomp Settings (page 2 for some models)

• Modulation Select and Settings

• Modulation Settings (page 2)

• Delay Select and Settings

• Delay Settings (page 2)

• Reverb Select and Settings

• Reverb Settings (page 2)

• Wah Settings

• Volume Settings

• Switch Pedal, Effect Tweak and Tempo Settings

MIDDLE

0 10

TREBLE

0 10

BASS

0 10

DRIVE

0 10

PRESENCE

0 10

CHAN VOL

0 10

REVERB

0 10

POD

ULTIMATE TONE FOR GUITA R

PODXT CONTROLS REFERENCE

OUTPUT

EFFECTSAMP MODELS

0 10

EFFECT

TWEAK

SELECT

10 10

15 13

1416

21 23

MOD

NAVIGATION REFERENCE

SELECT

• When EDIT, SAVE or TUNER is lit, “SELECT” selects pages

• Otherwise, “SELECT” chooses Channel Memories

MOD

• For Comp, Stomp, Mod, and Delay, the effect is on when lit.

• CAB/A.I.R. is lit when you are using a cab simulation.

• Double press an effect button to go straight to its EDIT page.

EDIT PAGES SAVE PAGES

TUNER PAGES

• Save Sound to Channel Memory

• Custom Save Amp Model

• MIDI Dump

• Tuner

• What are you connecting to?

• Display c ontrast

• MIDI/Variax

• PODXT Live Software Version

• Amp Settings

• Amp Bypass Settings

• A.I.R. Settings

• Compressor and Gate Settings

• EQ Settings

• Stomp Select and Settings

• Stomp Settings (page 2 for some models)

• Modulation Select and Settings

• Modulation Settings (page 2)

• Delay Select and Settings

• Delay Settings (page 2)

• Reverb Select and Settings

• Reverb Settings (page 2)

• Wah Settings

• Volume Settings

• Switch Pedal, Effect Tweak and Tempo Settings

FX LOOP STOMP BOX 1 STOMP BOX 2 STOMP BOX 3

WAH PEDAL 1 PEDAL 2VOLUME

DELAYMODULATIONTREMOLOREVERB TAP TEMPOAMP 2AMP 1

HOLD FOR TUNER

CUSTOM FOOT CONTROLLE R

FACTORY/USER

CHANNEL A CHANNEL B CHANNEL C CHANNEL D FAVORITE CHANNELBANK DOWN BANK UP

STOMP MODULATION REVERB

FX LOOP

HOLD FOR TUNER

TAP

CHANNEL BCHANNEL A CHANNEL DCHANNEL C

FBV SHORTBOARD

DELAY

FBV SERIES REFERENCE

AMP/CAB + A.I.R. II

REVERB LOOP

(PODXT Pro only)

MODULATION

COMP

THE "WHAT ARE YOU CONNECTED TO?" EDIT PAGE

(

see text pages for PODXT

Pro details

)

Use your A.I.R. settings to get the right mic sound you’re looking for! Choose from:

MIC 1.........................................................57 ON AXIS

MIC 2 .......................................................57 OFF AXIS

MIC 3 .....................................................421 DYNAMIC

MIC 4 ...................................................67 CONDENSER

LIVE : 4x12 LIVE : 2x12STUDIO : DIRECT

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.

LEFT OUTPUT

Be sure to use TRS cables when you want to get +4dBu levels to the balanced inputs of a recorder, mixer or power amp.

GATE

VOLUME

MODULATION DELAY

WAH STOMP

DELAY

VOLUME

Use the

VIBE

parameter to adjust the sound for your particular Live setup. Experiment with all the options, since different amp/cab combinations can give very different results, and you may get the best sound with an unusual combination of settings.

SIGNAL FLOW & EFFECTS ROUTING OPTIONS

The serial number can be found on the underside of your PODxt, or back panel of your PODxt Pro. It’s the number that begins with “(21)”. Please note it here for future reference:

SERIAL NO:

WARNING: To reduce the risk of ﬁre or electric

shock, do not expose this appliance to rain or moisture.

CAUTION: To reduce the risk of ﬁre or electric shock, do not

remove screws. No user-serviceable parts inside. Refer servicing to qualiﬁed service personnel.

CAUTION: This equipment has been tested and found to comply with the limits for a Class B digital device pursuant to Part

15 of FCC Rules. Operation is subject to the following two conditions: (1) This device may not cause harmful interference, and (2) this device must accept any interference received, including interference that may cause undesired operation.

The lightning symbol within a triangle means “electrical caution!” It indicates the presence of information about operating voltage and potential risks of electrical shock.

You should read these Important Safety Instructions

Keep these instructions in a safe place

Before using your PODxt, carefully read the applicable items of these operating instructions and safety suggestions:

1. Obey all warnings on the PODxt and in this Pilot’s Handbook.

2. Do not place near heat sources, such as radiators, heat registers, or appliances which produce heat.

3. Guard against objects or liquids entering the enclosure. 4a. PODxt: Connect only to AC power outlets rated 100-120V or 230V 47-63Hz (depending on the voltage

range of the included power supply).

4b. PODxt Pro: Connect only to AC power outlets rated 100-120V or 220-240V 47-63Hz (depending on the voltage

range of the unit).

5. Do not step on power cords. Do not place items on top of power cords so that they are pinched or leaned on. Pay particular attention to the cord at the plug end and the point where it connects to the PODxt.

6. Unplug your PODxt when not in use for extended periods of time.

7. Do not perform service operations beyond those described in the PODxt Pilot’s Handbook. In the following

circumstances, repairs should be performed only by qualiﬁed service personnel:

• liquid is spilled into the unit

• an object falls into the unit

• the unit does not operate normally or changes in performance in a signiﬁcant way

• the unit is dropped or the enclosure is damaged

8. Prolonged listening at high volume levels may cause irreparable hearing loss and/or damage. Always be sure to practice “safe listening.”

The exclamation point within a triangle means “caution!” Please read the information next to all caution signs.

Please Note:

Line 6, POD, Podxt, Podxt Pro, Vetta, FBV, FBV Shortboard, FBV4, Amp Farm, Line 6 Edit and Custom Tone 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 afﬁliated with Line 6. Product names, images, and artists’ names are used solely to identify the products whose tones and sounds were studied during Line 6’s sound model development for this product. The use of these products, trademarks, images, and artists’ names does not imply any cooperation or endorsement.

contents

Quick Start Guide 1•1

Go on-line and get more stuff! . . . . . . . . . . . . 1•2

Introduction . . . . . . . . . . . . . . . . . . . 1•3

Welcome To PODxt... . . . . . . . . . . . . . . . 1•3

Who is Line 6? . . . . . . . . . . . . . . . . . 1•3

Modeling. . . . . . . . . . . . . . . . . . . . 1•4

Amp, Cab and Effect Models . . . . . . . . . . . . 1•4

There’s Magic in the A.I.R.. . . . . . . . . . . . . . 1•5

And Away We Go.... . . . . . . . . . . . . . . . . 1•7

Controls & Connections 2•1

PODxt Pro . . . . . . . . . . . . . . . . . . . 2•10

Getting Set Up 3•1

All Purpose Basics . . . . . . . . . . . . . . . . . 3•1

What are you connecting to? . . . . . . . . . . . . 3•2

The Ins and Outs of Great Tone . . . . . . . . . . . 3•2

Setting Levels . . . . . . . . . . . . . . . . . . 3•3

Radiation Alert . . . . . . . . . . . . . . . . . 3•3

Pedal Power . . . . . . . . . . . . . . . . . . 3•4

MIDI Mania . . . . . . . . . . . . . . . . . . 3•4

Re-Amping . . . . . . . . . . . . . . . . . . . 3•4

What is Re-Amping? . . . . . . . . . . . . . . . 3•4

PODxt — Playing Live . . . . . . . . . . . . . . . 3•9

Mount Up . . . . . . . . . . . . . . . . . . . 3•9

Keeping Your Options Open . . . . . . . . . . . . . 3•9

What are you connecting to? . . . . . . . . . . . . 3•9

Getting The Right Tone With An Amp. . . . . . . . . . 3•11

External Stomp Boxes and PODxt.. . . . . . . . . . . . . . . . . . . 3•12

PODxt Pro — Conﬁgurations & Connections . . . . . . . 3•13

Selecting An Input . . . . . . . . . . . . . . . . 3•13

Input & Digital Out Options . . . . . . . . . . . . . 3•14

FORMAT: Sample rate, word length (bit depth), and clock source 3•14

MODE: Normal or Dry Guitar . . . . . . . . . . . . 3•15

GAIN: Extra gain on the digital outs . . . . . . . . . . 3•15

What are you connecting to? . . . . . . . . . . . . 3•16

FX Loop . . . . . . . . . . . . . . . . . . . . 3•17

AES/EBU or S/PDIF Data Format? . . . . . . . . . . 3•18

Radiation Alert . . . . . . . . . . . . . . . . . 3•18

Pedal Power . . . . . . . . . . . . . . . . . . 3•19

MIDI Mania . . . . . . . . . . . . . . . . . . 3•19

Re-Amping with PODxt Pro . . . . . . . . . . . . . 3•19

Analog Re-amping . . . . . . . . . . . . . . . . 3•19

Digital Re-amping . . . . . . . . . . . . . . . . 3•21

Creating & Storing Sounds 4•1

Recalling Channel Memories . . . . . . . . . . . . . 4•1

Recalling Effect Setups . . . . . . . . . . . . . . . 4•1

Editing Basics . . . . . . . . . . . . . . . . . . 4•1

Double Press for Easy Access . . . . . . . . . . . . 4•2

Inside the Edit Menu . . . . . . . . . . . . . . . . 4•2

Amp knob settings . . . . . . . . . . . . . . . . 4•3

Amp Bypass Channel Volume . . . . . . . . . . . . 4•3

Cabinet and Mic settings (There’s magic in the A.I.R.!) . . . 4•4

Comp/Gate settings. . . . . . . . . . . . . . . . 4•4

EQ settings . . . . . . . . . . . . . . . . . . . 4•5

Stomp settings . . . . . . . . . . . . . . . . . 4•6

Mod and Delay settings . . . . . . . . . . . . . . 4•6

Conﬁg . . . . . . . . . . . . . . . . . . . . . 4•7

Setting your Tone to Tempo . . . . . . . . . . . . . . 4•8

Reverb settings . . . . . . . . . . . . . . . . . . 4•8

Wah Settings . . . . . . . . . . . . . . . . . . 4•9

Volume Settings . . . . . . . . . . . . . . . . . 4•9

Assigning the Pedal and Tweak Knob and dialing in Tempo . . 4•10

Saving Yourself . . . . . . . . . . . . . . . . . . 4•11

Saving a Channel Memory . . . . . . . . . . . . . 4•11

Custom Saving Amp Models . . . . . . . . . . . . . 4•12

Custom Saving Effect Setups . . . . . . . . . . . . 4•13

MIDI Dumps . . . . . . . . . . . . . . . . . . 4•14

Modeled Amps & Cabs 5•1

Which Amps and Cabs Are Modeled? . . . . . . . . . . 5•1

Cabinet Models . . . . . . . . . . . . . . . . . . 5•34

Effect Model Details 6•1

Comp . . . . . . . . . . . . . . . . . . . . . 6•1

Gate . . . . . . . . . . . . . . . . . . . . . 6•2

III

The Stomp Effects: Fuzz, Distortion, Overdrive . . . . . . . 6•3

Stomp Effects: Compressors . . . . . . . . . . . . . 6•9

The Wah Pedals . . . . . . . . . . . . . . . . . 6•13

The Modulation Effects . . . . . . . . . . . . . . . 6•15

The Delay Effects . . . . . . . . . . . . . . . . . 6•23

Reverb . . . . . . . . . . . . . . . . . . . . . 6•30

MIDI 7•1

MIDI Basics . . . . . . . . . . . . . . . . . . . 7•1

What’s MIDI? . . . . . . . . . . . . . . . . . . 7•1

In/Out . . . . . . . . . . . . . . . . . . . . 7•1

MIDI Channel . . . . . . . . . . . . . . . . . . 7•2

MIDI Messages . . . . . . . . . . . . . . . . . 7•3

Backing Up PODxt Programs to Other Devices . . . . . . 7•4

Other Things You Can Do with MIDI . . . . . . . . . . 7•6

Changing PODxt Channels with MIDI Program Changes . . 7•6

Tweaking PODxt Tones with MIDI Controllers . . . . . . 7•6

Full MIDI Automation of PODxt .. . . . . . . . . . . . . . . . . . . . . . 7•6

MIDI Setup Trouble-shooting . . . . . . . . . . . . . 7•7

Putting Your Feet to Work 8•1

Meet the FBV Shortboard . . . . . . . . . . . . . . 8•1

Pushing Your Buttons . . . . . . . . . . . . . . . . 8•1

Saving and Naming with the FBV Shortboard . . . . . . . 8•3

Using an EX-1 . . . . . . . . . . . . . . . . . . 8•4

Appendix A: Amp Models 9•1

Appendix B: MIDI Program Changes 9•3

Appendix C: PODxt MIDI Controls 9•4

Appendix D: Note Value Controller Values 9•7

Quick Start Guide

Quick start Guide

or:

“Manual? I don’t need no stInkIng manual!”

PoDxt Pro owners, if you’re going to use anything beyond the standard guitar input and analog outputs, we can’t cover all your options on this brief page. See Chapter 2 to learn about con-

trols, and then get deep with the inputs and outputs in the PoDxt Pro — Conﬁgurations & Connections section that starts on page 3•8.

1. Turn the Output Level control all the way down to zero.

2. Connect the Left and Right Outputs to your recorder or mixer’s inputs, or

plug the left output into your guitar amp’s input. Or connect headphones to the

Phones jack on your PODxt for silent jamming.

3. Connect the included power pack or power cable to your PODxt, and plug the

other end into a power jack.

4. Connect your guitar to PODxt’s Input (PODxt’s Pro Guitar In).

5. Flip the Power switch to ﬁre up.

6. PODxt comes ready to rock for direct connection to your recording setup. If

you’re connecting to a guitar amp, it’s essential to let your PODxt know so it gives you the best tone. Do this by pressing Tune/System, then turning the

Select knob one step clockwise. Press the button below Dest (Destination) and then turn the Effect Tweak knob to tell your PODxt what type of amp you’re connecting to. PODxt will automatically override this setting when you plug in headphones, so you don’t have to do anything to get great headphone sound.

7. Select an Amp Model using the Amp Model knob. Set the Chan Vol to max and the Drive, Bass, Mid, Treble and Presence to your heart’s desire. Out-

put sets the, uh, output level.

8. Turn the Effects knob to load an Effects Setup, then twist the Reverb and Effect Tweak knobs so you’re happy with the sound. Tap the Tap tempo button

to set the speed of the selected effect.

9. Browse pre-programmed tones using the Select knob. Press the far left button under the display when the Edit button is NOT lit for a “Manual Override” and where-the-knobs-are-is-how-it-sounds operation.

1•1

Now before you run off, please give the page a quick ﬂip and....

Quick Start Guide

1•2

Go on-line and get more stuff!

Included in this manual is a handy, postage-paid card for you to send back to us to register your purchase. It’s very important that you ﬁll that registration card out right now and drop it in the mail, or jump on the Internet and register at www.line6.com. Registering insures that you’re dialed in for warranty service (warranty info is at the end of this manual) and insures we can contact you if new software versions or other cool enhancements are offered — cutting edge technology and such.

Here at Line 6, our mission is to help you be more creative by bringing you powerful new technologies. As part of that mission, we focus great effort on making the Internet a valuable resource for every one of our customers. The Line 6 web site is one of the most effective ways for us to deliver you what you need to make you and your PODxt ever more powerful.

Connect to www.line6.com to check out Custom Tone—a truly massive, free, exclusive-to-Line-6 online tone library that gives you instant access to the signature sounds of the greatest guitarists, bands, songs and gear of all time. It integrates with the free Line 6 Edit software that lets you edit your PODxt’s sounds, and save copies of them on your computer. Our web site is also the place to download our GuitarPort software and USB driver software, all free for your PODxt. You can even add more Models to your PODxt (see www.line6.com/modelpacks for the details on that). And to make it easy to get all this cool, computer-related stuff, look for the handy Line 6 Monkey utility, down- loadable from our web site, which will check for and install the latest versions of everything for you! Visit the discussion boards to learn tips & tricks, trade advice, and generally hang out and get POD-a-licious with the whole extended family of PODxt users. Use the Support pages to get answers to your technical questions and contact our customer service experts. Or grab electronic versions of this book and other documentation, learn what your favorite artists are doing with Line 6 gear, and see the latest products we’re introducing for you.

Not on the Internet yet? This may be the time to make the big jump, and thereby ensure that you will get all the great resources we can offer for you and your PODxt.

Quick Start Guide

Introduction

Welcome To Podxt...

Thank you for inviting PODxt into your life. Whether you use your PODxt as a direct recording miracle, a powerhouse preamp, a practice partner, or as a creative digital signal processing tool (and heck, why should it be just one of these?) — we think you’ll agree that PODxt is about the most amazing thing to happen to the electric guitar since, well, since the guitar ampliﬁer itself! PODxt delivers the incredible tones of the acclaimed Line 6 Point-to-Point Interactive modeling technology (as featured in our Vetta series amps) and fuses it with the wonderfully portable and easy to use POD, which has been the guitar recording world standard for years. So you’ve got the tonal heritage of the past century of guitar ampliﬁer and stomp box design, plus no-compromise recording and direct sound excellence — all ready to roll when you are.

Who is Line 6?

As you may know, Line 6 ﬁrst came on the scene several years back with a new kind of guitar ampliﬁer — the ﬁrst to put digital software modeling technology to work in a combo amp for guitarists. We also knew then that guitarists need great amp tone when recording, but generally don’t have the room to crank up that classic stack, or the money to hire a team of ace engineers to get it to tape. So we squished our patented modeling technology down into a small, kidney-bean-shaped wonder called POD, and forever changed the world of guitar recording.

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Once we’d gotten this whole modeling amp and POD thing started, it was time to see what we could do if we really cranked up the horsepower and took our modeling to the next level. I mean, once you’ve climbed to the top of the mountain, it’s on to the next mountain, right? So, eyes glowing like power tubes, we stocked up on the Pepsi, gathered our genius engineers into a secret lab, ﬁred up our extensive collection of ampliﬁers and stomp boxes... and spirited their treasured tones into a newly-supercharged modeling technology we dubbed Point-to-Point modeling. It ﬁrst hit the streets in the award-winning Vetta amp, whose superb tone and unparalleled selection of dream amps, cabinets and effects make it a pretty good contender for the world heavyweight amp title. After that, we poured the same magic elixir into the classic POD and—ta-dah!—PODxt was born.

How does PODxt help you create a guitar tone that is out of this world, and then get that tone wherever you need it? Easy! It’s…

Quick Start Guide

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Modeling

Modeling: just what is it, and why is it so important?

To answer that question, we’ll start with tubes (better know as “valves” to our friends in England and elsewhere). Tubes, we can all agree, are the heart and soul of pretty much every legendary guitar amp, and are key to the warm, harmonic-rich tone quality of those amps. Solid state devices (transistors) are simply unable to duplicate tube warmth and performance. And “hybrids” — a tube in a circuit along with a bunch of transistors — are really a vain attempt at warming up a transistor-based tone. They fall short in any comparison to a 100% tube circuit. So that’s it — tubes or nothin’, right? Well, not any

more....

You see, Line 6’s team of crack engineer-guitarists has spent years understanding pretty much everything there is to know about tube-powered gear, including exactly how different types of tubes respond under various conditions typical of guitar ampliﬁer design. How tubes process an input signal, how the signal is colored and shaped, at what point it begins to distort, the quality and characteristic of the distortion, what happens when the signal gets to other parts of the system — complicated stuff, but all analyzable as electronic data. A guitar pickup output, after all, is an electronic signal, and tubes and all the rest are really just a complex form of signal processing.

Having sussed it all out, the Line 6 engineers translated all this arcane knowledge into software that simulates the signal processing of guitar amps’ tubes and other electronics, entirely within the digital domain. Cool, huh? The Line 6 crew also directed their caffeine-enhanced modeling attention to a study of guitar speaker cabinets and the important part they play in communicating great guitar tone. And the great variety of stomp box and rack effects that guitarists use to juice things up. They translated it all into yet more powerful software, and it’s this revolutionary DSP (Digital Signal Processing) software-based modeling technology that gives Line 6 the power to create super siliconbased life forms like PODxt.

Amp, Cab and Effect Models

The tone and technology know-how of Line 6 thus comes to you as Amp, Cab and Effect Models based on a collection of gear recognized by guitarists the world over as true “tone

classics.” These models were tweaked through careful, scientiﬁc A/B comparisons to the gear that inspired them, with an ear open for the effects of different volume levels and settings of the originals’ tone and gain controls. The gain and equalization characteristics of the modeled gear were carefully measured so that changes to knobs on the models

Quick Start Guide

would mirror the effects of these changes on the originals as closely as possible. We’re talkin’ major attention to detail here. Tone control center frequencies, slopes, and cut/ boost range were painstakingly analyzed, in addition to a whole host of factors unique to each piece of gear. Not only that, but since many classic amps and effects have highly interactive circuits, we paid careful attention to the way that the setting of one knob changes the way that another knob may behave. All in an effort to make our Models as much like the amps, cabs and effects in our collection as possible. The resulting Amp, Cab and Effect Models are the foundation of PODxt.

Now, then — here are a couple of things we want to be completely crystal clear on:

1. The Line 6 modeling process is a patented, 100% digital software-based technology exclusive to Line 6.

2. Line 6 Modeling is not sampling, nor is it solid state; no special guitar, pickup, or cabling is needed.

There’s Magic in the A.I.R.

PODxt delivers its modeling tones through another innovation: Line 6’s A.I.R. direct recording output. The A.I.R. (acoustically integrated recording) technology is the result of intensive research and careful study of the tonal characteristics produced by the interaction of ampliﬁers, cabinets, speakers, microphones and the recording room during the recording process.

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The direct output of many preamps, ampliﬁers and direct box-style amp replacements available today offer some limited form of cabinet simulation or speaker emulation. Those that happen to be more than simple high end roll-offs have little or no control options. Generic cabinet simulations cannot reproduce the markedly different tones resulting from the choice of speakers, wood, and other details of a great real-life speaker cabinet. Other equipment also fails to reproduce the signiﬁcant tonal contribution of microphone selection and placement, and do nothing to reproduce the subtle ambience of the recording space.

The result is the familiar dissatisfaction with direct recording products — even those that deliver a reasonably usable basic tone fail to reproduce the “life” of the guitar sound, and destroy the proper feel in the process. It is as if your guitar strings became heavier and less responsive, like they just went up a couple of gauges when you plugged into your direct box. And your sound lost its life.

Quick Start Guide

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PODxt’s combination of Amp Models and A.I.R. technology provides superior direct tones by recreating all the elements contributing to a great recorded guitar sound, and giving you that tone with the same feel as playing through a real amp and speaker cabinet:

• The effect of the guitar ampliﬁer circuit is emulated by the Amp Model you choose. Each model was developed from extensive study of a classic ampliﬁer treasured as a tone classic.

• In a guitar amp, once the guitar signal passes through the electronics, it is output to one or more speakers in a speaker cabinet. The speciﬁc design of the speakers, how many there are, and how they are arranged contributes signiﬁcantly to your guitar tone, as does the construction and resulting tone of the wood box itself. A Marshall head driving a single 12-inch speaker in an open-back cabinet, for instance, will sound dramatically different from the same head driving a 4x12 closed-back cabinet. Line 6 has carefully constructed virtual software speaker cabinets that emulate the contribution made by real speaker cabinets to get great guitar sound.

• Once the sound makes it out of the speaker cabinet, the next important link in the recording system is the microphone that receives that sound. Guitar recordists select different microphones, and arrange them in different placements, to get particular sounds. A microphone pointing directly into the cone of a speaker will hear something different than one positioned off-axis. Line 6 carefully analyzed the coloring that various microphones add to the guitar sound, as well as the effects of different mic placement techniques, and gave you control of these details in your PODxt.

• The guitar amp, cabinet, and microphone don’t just sit in empty space. The room that they are in contributes importantly to the guitar sound you will record. Reverb can be used to capture the basic character of the space, simulating the effect of the sound reﬂecting off the room’s walls, ﬂoors and ceiling. But there are other subtle details that have more to do with the “spread” of the sound as it passes through the air between the speaker and microphone. This ﬁnal component is the key to the sense that the listener is in one position in the room, and the guitar sound is in another position, and that the two are separated by a mass of air that sound spreads through to reach the listener.

Quick Start Guide

All of these important sound-shaping components are accounted for in your PODxt. Turn the Amp Model knob to call up the ampliﬁer emulation you want. PODxt automatically matches that ampliﬁer with an appropriate cabinet and microphone setup, and gives you the sound of that setup coming through the air of a recording space. Turn the reverb knob to taste, and start recording incredible mic’d up sound. Press a button and twiddle a knob or two, and you can switch cabinets, change out mics and their placement, and adjust the “spread” of the sound in your virtual room as well.

The A.I.R. direct recording output is exclusive to Line 6. In combination with the Line 6 Amp, Cab and Effect Models, it is the key to PODxt’s phenomenally satisfying direct recording sound.

And Away We Go....

So, now that you know what’s in store, it’s time to experience PODxt for yourself. Grab your favorite axe, plug in, and ﬂip back to the handy Quick Start Guide on the ﬁrst page of this chapter if you haven’t already been through that. Then fold out the back

cover and follow me, my friend, for the PODxt Grand Tour....

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controls & connections

Controls & Connections

Now would be a good time to turn to the nifty back cover of this manual and notice that it folds out. Ooh, pretty pictures! The idea is to have this essential pictorial reference always opened out while you’re thumbing through the manual. It’s also got all the essential details for quickly getting around on your PODxt. The boxed numbers that pop up throughout this manual correspond to the numbers on the foldout’s illustrations. The back side of the cover’s got handy pictures for the FBV and FBV Shortboard foot controllers, plus signal ﬂow and connection guides.

Power Switch - Flip this to bring your PODxt to life. PODxt Pro includes

a standard IEC grounded power cable. For PODxt, use only the included PX-2 power pack.

Input/Guitar In - Plug your guitar in here. (You techies will want to know

this is a mono, un-balanced connection).

Phones - Plug your headphones in here for silent concertos. The volume is set

by the Output knob. Any time you use headphones, it important to be sure they’re not set for ridiculous volume before your slap them on your ears. Try an Output knob setting of about 10 o’clock when ﬁrst putting the headphones on, them turn up from there if you need more volume.

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So that you hear appropriate sound through the headphones, PODxt automatically switches to Studio Mode whenever headphones are connected (for more on Studio Mode, see “What are you connecting to?” on page

A quick note about headphones: Earbuds and headphones designed for use with portable MP3 players and tape players are very low impedance as well as not very accurate in frequency response. This makes them not suitable for use with PODxt. We recommend a pair of 150-600 ohm pro or semi-pro level studio headphones for best results.

3•2).

Controls & Connections

Output - This controls the overall output level of PODxt and also sets the

headphone level. Changing the Output level does not change your tone, so you can get the tone you want at any volume level. This setting is not saved when you store settings into one of the PODxt’s memory locations.

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xt Pro users, note that this does not affect the level of the XLR Outputs in Live Mode (for

PoD

more on Live Mode, see “What are you connecting to?” on page

xt will give the best signal-to-noise performance when you have the Output con-

POD

trol at max. With the Output control turned down low, you may get extra hiss—which obviously ain’t what you want—if you turn up your mixer or recorder’s output to compensate. In order to allow you to set the Output as high as possible when connecting to recording, mixing, and other studio gear, be sure you are plugging Podxt’s out- puts into line level, not microphone or guitar level inputs. Line level inputs should allow you to turn PODxt’s Output up all the way (or close to it) and thereby get the best sound possible. If your gear has inputs that function as mic/line level inputs, try to set the trim for those inputs to the minimum level, and PODxt’s Output to maximum, when setting levels.

Left & Right Output - (See numbers 33 and 34 for PoDxt Pro’s outputs.)

These balanced 1/4-inch TRS (tip/ring/sleeve) connectors are ready to rock with pro +4dBu balanced equipment. They will also work happily with unbalanced –10dBV equipment and standard guitar cables. If you need mono output, you can use either one.

Pedal - Looks like a telephone connector on steroids. Connect optional Line

6 FBV or FBV Shortboard foot controllers here. PODxt’s do not work with the Line 6 Floor Board and FB4.

USB - PODxt’s USB jack lets you connect it directly to most computers, and

record your PODxt directly to a wide variety of popular recording software. We’ve included a USB cable for use with our GuitarPort Windows software, Line 6 Edit software for Mac OS X and Windows, our Custom Tone online tone library, and PODxt driver software. All this software—along with directions for using it—is free for you to download at www.line6.com.

3•5).

Controls & Connections

MIDI In & Out - Connect PODxt to your MIDI equipment to select Chan-

nel Memories (via Program Change messages), or automate PODxt settings (via controllers and/or SySex). You can also use MIDI (or USB) to communicate with the free Line 6 Edit software downloadable from www.line6.com. The PODxt MIDI OUT connects to another device’s MIDI IN; its MIDI IN goes to another device’s MIDI OUT. Please also see Chapter 7, Deep Editing and MIDI Control, to setup your MIDI gear with

xt and ﬁnd out what MIDI can do for PODxt and you.

POD

Drive - This knob controls how hard you’re driving the input of the chosen Amp

Model. Like the input volume control on a non-master volume guitar amp, higher settings give you more “dirt.”

Tone Controls - Bass, middle, treBle, presence. Just like any guitar amp,

only when you change Amp Models, the response and interactivity of the controls changes, too — so they act like the tone controls of the original amp that inspired the Amp Model you’ve selected.

Chan Vol - This knob controls the relative volume level of the “channel” you

are playing through — thus, channel VOlume. Use this to balance levels between the sounds you store in two different PODxt Channel Memories (say between your rhythm and lead tones). In general, you want to set the chan VOl as high as possible to insure you’re getting the best signal-to-noise ratio performance — but back off on this control if you’re seeing CLIP in PODxt’s display.

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TIP: You probably want to have all of your favorite sounds as loud as possible, while also having the right difference in volume between your lead and rhythm sounds, clean and dirty sounds, etc. Right? OK, then, to get this happy balance, start with your favorite ‘clean’ sounds. Turn up their Chan Vol as high as you can without getting the CLIP indicator in PODxt’s display when you strum hard. and save them that way. Then switch amongst them to see if some are too loud, and turn them down a bit to match well with the others. Next, move on to select your ‘dirtier’ crunch and lead tones, comparing them to the clean sounds and saving them with lower Chan Vol settings to match well with those clean sounds. Now, each time you use your PODxt, you just have to set an Output volume level you like, and you can switch amongst your various sounds without unhappy volume differences.

Controls & Connections

Reverb - How much reverb do you want today? Spin this knob to set the Reverb

level. Several ﬂavors of reverb live inside PODxt, including springs, rooms, chambers, halls and plate reverbs.

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Effects - This knob selects from PODxt’s Effect Setups — which set up a com-

bination of effects for you (all the details on effects are in Chapter 6, stOmpBOxes &

ffects). Think of each Effect Setup as a virtual pedal board or outboard gear rack that

you can match with any Amp Model. When you turn the effects knob, PODxt shows the name of the Effect Setup that is loaded and you’ll hear the effects change instantly. The effect buttons light to show which effects are on. There are 64 of these effect “rigs” pre-programmed and ready for you to use.

Effect Tweak - This knob varies some aspect of the effect you’ve chosen. Turn

it up and the effect will generally go deeper, louder, faster, longer or just plain more. You’ll know what you’re tweakin’ because a window will pop up on PODxt’s display to show you. The delay time is usually set by the tap button. For the inside scoop, including how you can customize the effect tweak knob see Chapter 4, Creating & Storing

Sounds. If the effect that effect tweak is “targeting” is off, then, big surprise, effect

weak won’t change anything. While the edit or tune/system button is lit, the effect

weak knob adjusts parameter values instead.

Amp Models - When you spin this knob, it’s essentially like changing what

electronic “circuitry” is running inside PODxt to make your amp sound. (See the groovy details in Chapter 5, Modeled Amps and Cabs.) You’ll see the Amp Model names change in PODxt’s display. When you choose an Amp Model, Cabinet and Microphone Models are also loaded automatically. For instance, when you choose the Brit Hi Gain model (based on the classic Marshall JCM 800 head), a Cabinet Model based on a Marshall 4x12 will be loaded with it. You can also choose a different cabinet/mic setup by pressing the caB/a.i.r. button (below).

In fact, Amp Models automatically load with all the amp-related settings pre-set for a ready to go tone. Drive, Bass, Mid, Treble, Presence, Cab/A.I.R., EQ etc. will all be determined by the Amp Model you choose — giving you a ready-to-rock sound with the turn of just this one knob. Once you get familiar with PODxt, you can change these amp-associated defaults to customize the settings of each of the Amp Models to ﬁt your tastes. Note that when you’re in Manual Mode, Drive, Bass, Mid, Treble, Presence, Channel

Volume and Reverb are set by the physical knob positions instead of being automatically set with the amp selection. Complete details are in Chapter 5.

Controls & Connections

Select - The PODxt has 128 Channel Memories. They are arranged in 32 banks

of four channels each. (The four are called A, B, C, and D.) You can think of each bank as a sort of virtual four-channel guitar amp — and you’ll ﬁnd that the same layout is used on the optional Line 6 foot controllers for PODxt (the FBV and FBV Shortboard) which are discussed later in Chapter 8.

The ﬁrst 64 Channel Memories (Banks 1-16) store a variety of complete amp-and-effect selections pre-programmed by the tone mavens at Line 6. The second 64 (Banks 17-32) are left for your own creations (or you can load them up with one of the thousands of great tones you’ll ﬁnd at customTone.com).

You load PODxt channels by turning the select knob. When recalling a channel, you may have left the physical Bass knob at minimum, whereas the just-recalled channel has this control set to max. To change Bass (or anything else), just grab the knob you want and tweak.

To leave the Channel Memory world and enter Manual operation, make sure the edit button is not lit, and press the Soft Button will read Manual Mode to let you know you’ve got WYSIWYG (what-you-see-is-what- you-get) operation, and all the physical knob positions are being used to determine your sound. More on all this later.

below the word manual. The display

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When the edit, saVe or tune/system button is lit, the select knob selects from the available display pages. When you press edit, it selects pages of effect and channel parameters; when you press tune/system, it takes you through all of the Tuner and systemwide settings; when saVe is lit, you’ll ﬁnd amp and effect customization features as well as MIDI dump operations. The vertical “scroll bar” on the left side of each display page shows you where you are in that group of pages.

Controls & Connections

Display - PODxt’s LCD (liquid crystal display) is your window into every param-

eter and setting available. Here’s how to get around:

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1. When the

POD

Save, Edit or Tune/System button is lit, a scroll bar on the left side of

xt’s display shows you where you are in the available display “pages.” Press one

of these buttons to see the scroll bar now. For those that really need to get all the nerdy details, each dot in that bar represents a page. As you turn the Select knob, you move through the pages and so does the little square. When you’re on the ﬁrst page, the little square is at the top. When you get to the last page, the square’s at the bottom. Square goes up, square goes down. Square goes up, square goes down. Fun for the whole family!

2. Each page typically has words that appear in the bottom of the display. These words label things you can adjust. Press the button below the thing you want to adjust, then turn the Effect Tweak knob to do your adjusting.

18 Soft Buttons - These four buttons operate differently depending on what

you’re doing.

If the edit button is NOT lit, the PODxt’s display will look about like this:

You can press the far left Soft Button to enable manual mode. Press the second Soft Button from the left to show the saved settings of the Amp Model’s tone controls, then press the lit edit button to exit that display. Press one of the two Soft Buttons on the right to turn the Gate and eQ effects on/off (in the illustration, the Gate effect is off, and the EQ effect is on). Double-pressing the button for Gate or eQ will jump you right to the detailed settings for those effects. You can then press the lit edit button when you’re ﬁnished tweaking.

If the edit button IS lit, the Soft Buttons will let you select which displayed setting you’d like to tweak. See Chapter 4 for the detail on that.

Controls & Connections

Effect On/Off Buttons - These four buttons allow you to quickly turn any

of four effects on or off (the effects are on when the buttons are lit).

• The cOmp button turns on/off the Compressor effect

• The stOmp button turns on/off the loaded Stomp-Box effect

• The mOd button turns on/off the loaded Modulation effect

• The delay button turns on/off the loaded Delay effect.

Double-press one of these buttons to adjust the loaded effect or load a different one. For example, just press the cOmp button two times quickly and you’re instantly taken to the Compressor and Gate edit page. Double-pressing the stOmp button will quickly take you to the ﬁrst Stomp Box edit page. Double-press the same button again (or press the edit button) to leave Edit Mode.

CAB/A.I.R. - Press the caB/a.i.r. button once to pick a Cab Model to pair

with your ampliﬁer, select the microphone used on the cabinet and even set the amount of “room” that the mic captures. Unlike the effect On/Off buttons, this button is not an on/off type control. A single press of this button simply lets you change cabs and mics quickly. When the Cabinets are off, this button’s light will be off as well.

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Save - When you want to store your own tweaked-up sounds in your PODxt this

button is the key. Exactly how it works is detailed in Chapter 4, Creating & Storing Sounds. But you’re probably impatient, so here are the basics:

When using a pre-programmed sound, PODxt will display the bank number, channel letter and channel name at the top of the display. If you turn one of the knobs or change a parameter in the edit mode pages, you’ll notice an asterisk appears to the left of the bank number. This is a reminder to you that you have tweaked the memorized channel, and that you should save it if you want your PODxt to remember the tweak.

To save the changes you’ve made to a Channel Memory, press the saVe button. The but- ton will start to ﬂash. Just press saVe again if you want to overwrite the currently loaded Channel, using the same name. Or, if you’d like to change the name ﬁrst, use the middle two Soft Buttons to select a character, then press the right soft button and turn the

ffect tweak knob to change the character. Press the soft button under dest, turn the

ffect tweak knob, and you will see that you are switching through memory locations A,

B, C, and D in each of the sixteen numbered banks. Pick one to store your sound in, and

Controls & Connections

press that saVe button a second time. The button’s light will stop ﬂashing, a progress bar will shown on the display, and the sound is stored at the location you chose, replacing the sound that was there before.

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After the sound is stored, you can bring it back any old time by simply turning the select knob to call up the location where you stored it. (See Chapter 8 to learn how to do all this with your feet on the optional foot controllers).

If you aren’t using one of the PODxt Channel Memories — you’re in Manual mode, and you’re just getting the sound of where the knobs are set — you can store that state into a memory location the same way. Press saVe, then dest, then use effect tweak to choose a place to save to, and press saVe again.

If you decide you don’t want to store the sound after you’ve started saving, press any other button to cancel the save. (The save will also be canceled if you don’t touch anything for 15 seconds after pressing saVe.) If you accidentally save over a factory sound you liked, the saVe button’s additional pages let you recall the factory preset version of a Channel Memory any time. See Chapter 4 for details on this feature.

The saVe button also lets you customize any of the Amp Models and Effect Setups to your own taste, so your favorite version of the amp or effect comes up instantly when you turn amp mOdels or effects. See Chapter 4 for the details on that.

Controls & Connections

Edit - A deep-dive into tone central is available at the press of the edit button.

While edit is lit, the select knob selects pages of everything that makes up a Channel Memory. From here, you set all the effect parameters, select cabinets and microphones, and assign a parameter to the effect tweak knob. To learn more about deep editing, please see Chapter 4.

23 Tune/System - Press that puppy and — shazam! Instant digital chromatic tuner. All Amp Model and effects processing are bypassed so you can hear those questionably-tuned strings clearly, should you choose to do so.

Play a note on your guitar and PODxt will show you what it is on that handy display; all notes are displayed as ﬂats, so you’ll see Ab instead of G#. Play that string you’re trying to tune again, spin its tuning key so it goes sharp and ﬂat, and the little ball will move to the right if it’s sharp and back down to the left when the note’s ﬂat. The little ball will sit right in the middle when you’ve got it just right. Give PODxt’s tune/system button a push and the tuner disappears just as swiftly as it came, taking you right back to normal operation.

Tuner Bypass/Volume - Normally, the audio will be muted while you’re tuning, but if you prefer to hear yourself tune, press the button labeled Mute, and turn effect tweak counter-clockwise to select Bypass.

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Tuner Reference - Want a different reference than A=440Hz? When you’re in the tuner mode, press the button labeled 440 Hz and turn the effect tweak knob on PODxt while watching the display. This control lets you set the reference frequency anywhere from 430-450 Hz. This setting is stored so you don’t have to reset it every time you turn on PODxt if you decide you want to be different (or if that piano in your rehearsal room has decided to be different).

Tap - PODxt allows you to control the time and speed of your effects by simply

tapping on this button. To use the tap control, just tap the button at the tempo you want and the effects that are set to “lock” to that tempo will change to match what you tapped. There’s also a Tempo parameter near the end of the edit pages, so you’ll see exactly what Tempo you’ve Tapped. This is especially useful if you are trying to nudge your

ap setting to just the right value. See Chapter 4 to learn how to set up effects to follow

the tempo that you’ve tapped.

Controls & Connections

FEATURE FOCUS

Podxt Pro

The following controls and connections are found on the PoDxt Pro only.

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Input Level - The Normal setting of this switch is appropriate for most guitars.

If you see the Clip light 28 coming on, that means you’re overloading PODxt Pro’s input. If that happens frequently, try the Pad setting here. This switches in input circuitry that’s appropriate for hotter signals output by some guitars with active pickups, or from keyboards and other sources. For those non-guitar sources you may also want to try the rear panel Line Level Input CLIP indicator shows in the display if you are clipping in the internal DSP.

I/O & Dig Select - Press this to tell your PODxt Pro what it’s connected to

so it can give you the best sound, and to choose digital audio and other options.

• Press it once to select where you’re going to connect your input source to the

POD

• Press it a second time to tell PODxt Pro whether you’re using it in

the studio or live, how you have connected your effects loop and what kind of digital gear you have connected to PODxt Pro.

• Press it a third time and it will dismiss the pages and take you back to whatever was

in the display before you pressed the button.

, which is a balanced TRS connection. A separate

xt Pro, and exactly what you want to come out of the digital outputs.

Signal Light - This lights to say, “Yep, I’m hearing some input.” If you’ve got

something feeding audio to your PODxt Pro but you can’t hear it and don’t see it here, press the i/O & diG select button 26 and be sure you’ve got the right input selected. (This light doesn’t show input from USB, by the way.)

Clip Light - This lights to say, “Whoa, Nelly! That’s too much input!” (And,

again, it doesn’t show the status of USB audio.) Reduce the output level of the device that’s feeding your PODxt Pro, or try the Pad setting of the handy input leVel switch. For non-guitar sources, you may instead want to use the...

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