Line 6 POD xt Pro User Manual
POD
ULTIMATE TONE FOR GUITAR
POD
ULTIMATE TONE FOR GUITAR + DIG I/O
Pilot’s Handbook
An in-depth exploration of the revolutionary technologies and
pulsing tonal pleasures that lurk within PODXT and PODXT Pro.
XT
XT
PRO
Electrophonic Limited Edition. Also available at www.line6.com. Revision F.
EFFECT MODELS
STOMPS MODEL BASED ON
FACIAL FUZZ .......................FUZZ FACE
FUZZ PI ..............................BIG MUFF PI
SCREAMER..........................TS 808
CLASSIC DIST......................RAT
OCTAVE FUZZ......................OCTAVIA
BLUE COMP ........................BOSS CS-1
RED COMP..........................DYNA COMP
VETTA COMP .......................LINE 6 ORIGINAL
AUTO SWELL.......................LINE 6 ORIGINAL
AUTO WAH..........................MUTRON III
LUX SPRING
STD SPRING
KING SPRING
AMP MODELS
# AMP MODEL MODEL BASED ON
0 ......BYPASS..........................(Bypasses the Amp Model)
1 ......TUBE PREAMP..................TUBE INSTRUMENT PREAMP
2 ......LINE 6 CLEAN...................LINE 6 21st CENTURY CLEAN
3 ......LINE 6 JTS-45..................LINE 6 ORIGINAL
4 ......LINE 6 CLASS A................LINE 6 ORIGINAL
5 ......LINE 6 MOOD..................LINE 6 ORIGINAL
6 ......SPINAL PUPPET................LINE 6 ORIGINAL
7 ......LINE 6 CHEM X................LINE 6 CHEMICAL X
8 ......LINE 6 INSANE.................WAY TOO MANY HOURS OF SHREDDING
9 ......LINE 6 ACO 2...................LINE 6 PIEZO ACOUSTIC 2
10 ....ZEN MASTER....................BUDDA TWINMASTER 2x12 Combo
11 ....SMALL TWEED .................‘53 FENDER DELUXE
12 ....TWEED B-MAN .................‘58 FENDER BASSMAN
13 ....TINY TWEED....................‘60 TWEED FENDER CHAMP
14 ....BLACKFACE LUX................‘64 FENDER DELUXE REVERB
15 ....DOUBLE VERB..................‘65 FENDER BLACKFACE TWIN
16 ....TWO-T0NE.......................GRETSCH 6156
MODULATIONS MODEL BASED ON
SINE CHORUS .....................LINE 6 ORIGINAL
ANALOG CHORUS.................CE-1 CHORUS
LINE 6 FLANGER ..................LINE 6 ORIGINAL
JET FLANGER.......................ADA FLANGER
PHASER..............................PHASE 90
U-VIBE................................UNI VIBE
OPTO TREM.........................FENDER OPTO
BIAS TREM..........................VOX BIAS
ROTARY DRUM & HORN........LESLIE 145
ROTARY DRUM ....................FENDER VIBRATONE
AUTO PAN...........................LINE 6 ORIGINAL
REVERBS
SMALL ROOM
TILED ROOM
BRITE ROOM
DARK HALL
MEDIUM HALL
LARGE HALL
DELAYS MODEL BASED ON
ANALOG .............................BOSS DM-2
ANALOG W/ MOD................EH MEMORYMAN
TUBE ECHO.........................EP-1 ECHOPLEX
MULTI-HEAD........................ROLAND SPACE ECHO
SWEEP ECHO ......................LINE 6 ORIGINAL
DIGITAL ..............................LINE 6 ORIGINAL
STEREO DELAY.....................LINE 6 ORIGINAL
PING PONG DELAY................LINE 6 ORIGINAL
REVERSE ............................LINE 6 ORIGINAL
RICH CHAMBER
CHAMBER
CAVERNOUS
# AMP MODEL MODEL BASED ON
17 ....HIWAY 100.....................HIWATT CUSTOM 100
18 ....PLEXI 45.........................‘65 MARSHALL JTM-45
19 ....PLEXI LEAD......................‘68 MARSHALL ‘PLEXI’ SUPER LEAD
20 ....PLEXI JUMP LEAD.............JUMPERED MARSHALL SUPER LEAD
21 ....PLEXI VARIAC...................VARIAC’D MARSHALL SUPER LEAD
22 ....BRIT J-800......................MARSHALL JCM 800
23 ....BRIT JM PRE....................MARSHALL JMP-1 PREAMP
24 ....MATCH CHIEF...................‘96 MATCHLESS CHIEFTAIN
25 ....MATCH D-30....................MATCHLESS DC-30
26 ....THREADPLATE...................2001 MESA BOOGIE DUAL RECTIFIER
27 ....CALI CRUNCH...................‘85 MESA BOOGIE MARK IIC+
28 ....JAZZ CLEAN .....................‘87 ROLAND JC-120
29 ....SOLO 100.......................SOLDANO SLO-100 HEAD
30 ....SUPER O.........................SUPRO S6616
31 ....CLASS A-15.....................‘60 VOX AC-15
32 ....CLASS A-30 TB.................‘67 VOX AC-30 TOP BOOST
SLAP PLATE
VINTAGE PLATE
LARGE PLATE
CABINET MODELS
# CAB MODEL MODEL BASED ON
0 ......NO CAB...........................N/A
1 ......1X6 SUPER O..................SUPRO S6616
2 ......1X8 TWEED.....................‘60 TWEED FENDER CHAMP
3 ......1X10 GIBTONE................GIBSON EXPLORER
4 ......1X10 G-BRAND................GRETSCH
5 ......1X12 LINE 6 ...................LINE 6 ORIGINAL
6 ......1X12 TWEED...................‘53 FENDER DELUXE REVERB
7 ......1X12 BLACKFACE.............‘65 FENDER DELUXE REVERB
All amp, cab and effect 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.
# AMP MODEL MODEL BASED ON
8 ......1X12 CLASS A.................VOX AC-15 W/ GRAYBELLS
9 ......2X2 MINI T.....................FENDER MINI TWIN
10 ....2X12 LINE 6 ...................LINE 6 ORIGINAL
11 ....2X12 BLACKFACE.............'65 FENDER BLACKFACE TWIN
12 ....2X12 MATCH...................'96 MATCHLESS CHIEFTAIN
13 ....2X12 JAZZ......................ROLAND JC-120
14 ....2X12 CLASS A.................VOX AC-30 TB
15 ....4X10 LINE 6 ...................LINE 6 ORIGINAL
# AMP MODEL MODEL BASED ON
16 ....4X10 TWEED...................'58 FENDER BASSMAN
17 ....4X12 LINE 6 ...................LINE 6 ORIGINAL
18 ....4X12 GREEN 20’s............MARSHALL W/ GREENBACK 20'S
19 ....4X12 GREEN 25’s............MARSHALL W/ GREENBACK 25'S
20 ....4X12 BRIT T75................MARSHALL W/ GR-T75'S
21 ....4X12 BRIT V30’S ............MARSHALL W/ VINTAGE 30'S
22 ....4X12 THREADPLATE..........MESA W/ CUSTOM CELESTIONS
CONTROLS REFERENCE
31 32 33 34 35 36
6
7
LEFT/MONO RIGHT LEFT/MONO RIGHT
L/MONO R/MONO LEFT RIGHT OUTIN
STUDIO:
LIVE:
-10 dBV
+4 dBu
GROUND LIFT
(not compatible with Floor Board or FB4)
FBV Class Foot Controller only
Unbalanced
EFFECTS RETURNEFFECTS SEND
LIVE:
FEED TO ONSTAGE AMP
GROUND
USBPEDAL
SERIES/PARALLEL VIA
I/O & DIG SELECT
BUTTON
STUDIO:
RECORDING OUTPUT
Line Level
Input
ANALOG REAMPING INPUT/OUTPUT
Balanced: Tip = + / Ring = -
Unprocessed
Guitar Out
UNBAL ANALOG OUT
BALANCED ANALOG OUT AES/EBU S/PDIF
SET MODES & LEVELS VIA
I/O & DIG SELECT
WARNING/AVIS:
SHOCK HAZARD – DO NOT OPEN. RISQUE DE CHOC ÉLECTRIQUE – NE PAS
OUVRIR. TO REDUCE THE RISK OF FIRE OR ELECTRIC SHOCK DO NOT
EXPOSE THIS EQUIPMENT TO RAIN OR MOISTURE. TO REDUCE THE RISK
OF ELECTRIC SHOCK DO NOT REMOVE COVER. NO USER SERVICEABLE
PARTS INSIDE. REFER SERVICING TO QUALIFIED SERVICE PERSONNEL.
BUTTON
29 30
22
24
1318
3
POWER
27
SIGNAL
16
17
14
28
S
A
V
E
C
(
G
O
A
M
T
E
P
)
S
T
O
M
P
M
O
D
D
E
L
A
Y
A
C
.
A
I
.
B
R
.
/
T
S
U
Y
S
N
T
E
E
M
CLIP
0 10
E
D
I
T
T
A
P
EFFECTS
1
20
231921
AMP MODELS
15
9
THIS DEVICE COMPLIES WITH PART 15 OF THE 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.
IN
OUT
12
11
0 10 0 10 0 10
CHAN VOLREVERB OUTPUT
0 10
MIDDLE TREBLEBASSDRIVE PRESENCE
10
N222
MIDI
OUT/THRUIN
POWER REQUIREMENTS
RISK OF ELECTRIC SHOCK
100 - 120V ~
100 W Max.
CAUTION
50 - 60Hz
DO NOT OPEN
4
2
25
NORMAL PAD
INPUT LEVEL
Guitar inPHONES
SELECT
POD
ULTIMATE TONE FOR GUITAR
+
PRO
DIG I/O
XT
0 100 100 10
I/O & DIG
26
8
F
E
L
9
0 10
DRIVE
6
P
T
U
P
T
U
O
T
H
G
I
T
U
P
T
U
O
T
R
E
7
S
B
L
U
A
D
10 10
O
C
G
(
SELECT
P
M
)
E
T
A
0 10
MIDDLE
M
O
T
S
POD
ULTIMATE TONE FOR GUITAR
P
19
10
0 10
BASS
V
E
A
S
21 23
M
17
O
D
0 10
TREBLE
XT
D
E
L
A
Y
C
A
20
A
B
/
.
I
.
R
.
EFFECT
TWEAK
M
I
D
I
O
U
T
PRESENCE
T
S
1416
10
0 10
E
N
U
T
S
E
M
Y
85
M
I
D
I
I
N
11
0 10
CHAN VOL
1
4
0 10
OUTPUT
P
H
O
N
E
S
3
E
T
I
D
22
15 13
AMP MODELS
NAVIGATION REFERENCE
• When EDIT, SAVE or TUNER is lit, “SELECT”
SELECT
selects pages
• Otherwise, “SELECT” chooses Channel
Memories
E
D
T
I
EDIT PAGES SAVE PAGES
• Amp Settings
• A.I.R. Settings
• Compressor and Gate Settings
• Stomp Select and Settings
• Modulation Select and Settings
• Modulation Settings (page 2)
• Delay Select and Settings
• Delay Settings (page 2)
• Reverb Select and Settings
• Wah and Volume Settings
• FX Tweak and Tempo Settings
S
P
M
O
C
)
E
T
A
G
(
T
18
O
P
M
D
O
M
V
A
E
S
N
E
U
T
T
E
S
M
Y
S
TUNER PAGES
D
E
L
A
Y
T
A
P
24
0 10
REVERB
EFFECTS
• For Comp, Stomp, Mod, and Delay, the effect is on
when lit.
C
A
• CAB/A.I.R. is lit when you are using a cab simulation.
B
/
A
.
I
.
R
.
• Double press an effect button to go straight to its
EDIT page.
• Save Sound to Channel Memory
• Custom Save Amp Model
• Custom Save Effects Setup
• Single Factory Channel recall
• Factory Recall
• MIDI Dump
• Tuner
• Input/Digital Out (PODxt Pro Only)
• What are you connecting to?
• Display contrast
• MIDI
• PODXT Software Version
12
T
U
P
N
I
2
FBV SERIES REFERENCE
13
3
1
FX LOOP
4
STOMP MODULATION
CHANNEL BCHANNEL A CHANNEL DCHANNEL C
2
3
FX LOOP STOMP BOX 1 STOMP BOX 2 STOMP BOX 3
4
5
6
FBV SHORTBOARD
8
9
DELAY
7
4
REVERB
TAP
HOLD FOR TUNER
10
CUSTOM FOOT CONTROLLER
11
VOLUME WAH
12
11
WAH PEDAL 1 PEDAL 2VOLUME
FACTORY/USER
1
7
AMP 2AMP 1
8
9
DELAYMODULATIONTREMOLOREVERB
10
TAP TEMPO
12
HOLD FOR TUNER
CHANNEL A CHANNEL B CHANNEL C CHANNEL D FAVORITE CHANNELBANK DOWN BANK UP
2
SIGNAL FLOW & EFFECTS ROUTING OPTIONS
GATE
VOLUME
WAH STOMP DELAYMODULATION
COMP
VOLUME
THE "WHAT ARE YOU CONNECTED TO?" EDIT PAGE
Be sure to use TRS cables when
you want to get +4dBu levels to
the balanced inputs of a recorder,
mixer or power amp.
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
MODULATION DELAY
(
see text pages for PODXT Pro details
LIVE : 4x12 LIVE : 2x12STUDIO : DIRECT
AMP/CAB + A.I.R. II
REVERB
)
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.
LOOP
(PODXT Pro only)
LEFT OUTPUT
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.
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:
electric shock, do not expose this appliance to
rain or moisture.
CAUTION:
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.
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. POD
4b. PODXT Pro: Connect only to AC power outlets rated 100-120V or 220-240V 47-63Hz (depending on the
5. Do not step on power cords. Do not place items on top of power cords so that they are pinched or leaned on.
6. Unplug your PODXT when not in use for extended periods of time.
7. Do not perform service operations beyond those described in the POD
8. Prolonged listening at high volume levels may cause irreparable hearing loss and/or damage. Always be sure
To reduce the risk of fire or
This equipment has been tested and found to comply with the limits for a Class B digital device
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
K
EEP THESE INSTRUCTIONS IN A SAFE PLACE
XT
: Connect only to AC power outlets rated 100-120V or 230V 47-63Hz (depending on the voltage
range of the included power supply).
voltage range of the unit).
Pay particular attention to the cord at the plug end and the point where it connects to the PODXT.
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
to practice “safe listening.”
CAUTION:
do not remove screws. No user-serviceable parts inside. Refer
servicing to qualified service personnel.
To reduce the risk of fire or electric shock,
The exclamation point within a
triangle means “caution!” Please
read the information next to all
caution signs.
Pilot’s Handbook. In the following
XT
XT
POD
Pilot’s Handbook © 2003, Line 6, Inc.
Please Note:
Line 6, POD, PODXT, PODXT Pro, Vetta, FBV, FBV
Shortboard, FBV4, Amp Farm, Line 6 Edit and
ToneTransfer 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.
Quick Start Guide ................................................................................1•1
Register Now .......................................................................................................................................1•2
Get On-Line...........................................................................................................................................1•2
Line 6 Tone Transfer and Discussion Forums .............................................................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 and Connections...................................................................2•1
Getting Set Up...................................................................................... 3•1
All Purpose Basics...............................................................................................................................3•1
POD
XT
– In The Studio..................................................................................................................3•2
What are you connecting to? ................................................................................................3•2
The In’s and Out’s of Great Tone .......................................................................................3•2
Setting Levels ...................................................................................................................................3•3
Radiation Alert.................................................................................................................................3•3
Pedal Power ......................................................................................................................................3•4
Midi Mania ..........................................................................................................................................3•4
POD
XT
– Playing Live.......................................................................................................................3•5
Mount Up............................................................................................................................................3•5
Keeping Your Options Open..................................................................................................3•5
What are you connecting to? .................................................................................................3•5
Getting The Right Tone With An Amp............................................................................3•6
External Stomp Boxes and POD
POD
XT
Pro – Configurations & Connections..................................................................3•8
XT
.....................................................................................3•7
Selecting An Input..........................................................................................................................3•8
Input & digital Out Options......................................................................................................3•9
FORMAT: Sample rate, word length (bit depth), and clock source.................3•9
MODE: Normal or Dry Guitar...............................................................................................3•10
GAIN: Extra gain on the digital outs....................................................................................3•10
What are you connecting to?..................................................................................................3•11
FX Loop...............................................................................................................................................3•12
continued on next page
Getting Set Up
continued
AES/ÉBU or S/PDIF Data Fromat?............................................................................................3•13
Radiation Alert .................................................................................................................................3•13
Pedal Power.......................................................................................................................................3•14
MIDI Mania.........................................................................................................................................3•14
Re-Amping with POD
XT
Pro.......................................................................................................3•14
Analog Re-amping..........................................................................................................................3•14
Digital Re-amping............................................................................................................................3•16
Creating & Storing Sounds.................................................................. 4•1
Recalling Channel Memories ......................................................................................................4•1
Recalling Effect Setups ....................................................................................................................4•1
Stompbox-style Control ................................................................................................................4•2
Editing Basics .........................................................................................................................................4•2
Double Press for Easy Access ...............................................................................................4•3
Inside the Edit Menu ........................................................................................................................4•3
Amp Knob settings........................................................................................................................4•3
Cabinet and Mic settings (There’s magic in the A.I.R.!)............................................4•4
Effects Editing....................................................................................................................................4•4
Setting your Tone to Tempo ......................................................................................................4•7
Reverb ......................................................................................................................................................4•7
Wah and Volume................................................................................................................................4•8
FX Tweak Knob Assign / Tempo Assign...............................................................................4•8
Saving Yourself......................................................................................................................................4•9
Saving Channel Memory ............................................................................................................4•9
Custom Save Amp Model.........................................................................................................4•10
Custom Save Effect Setup.........................................................................................................4•11
Single Channel Recall ...................................................................................................................4•12
Complete Factory Recall............................................................................................................4•12
MIDI Dumps......................................................................................................................................4•13
Modeled Amps & Cabs.........................................................................5•1
Which Amps and Cabs Are Modeled? .................................................................................5•1
Cabinet Models ...................................................................................................................................5•28
Stompboxes & Effects.......................................................................... 6•1
About the Stompboxes...................................................................................................................6•1
Basic Effect Editing..........................................................................................................................6•1
Deep Dive Editing..........................................................................................................................6•2
Stomp Effects: Distortions and Overdrives.....................................................................6•2
Stomp Effects: Compressors....................................................................................................6•2
Comp/Gate Effects........................................................................................................................6•3
Modulation Effects .........................................................................................................................6•3
Tap Tempo........................................................................................................................................6•4
Reverb ......................................................................................................................................................6•5
Springs...................................................................................................................................................6•5
Rooms...................................................................................................................................................6•6
Halls........................................................................................................................................................6•6
Chambers............................................................................................................................................6•7
Plates......................................................................................................................................................6•7
The Stomp Effects .............................................................................................................................6•8
The Modulation Effects ..................................................................................................................6•17
The Delay Effects ...............................................................................................................................6•24
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 POD
XT
Programs to Other Devices ...........................................................7•4
Other Things You Can Do with MIDI ..................................................................................7•6
Changing POD
Tweaking POD
Full MIDI Automation of POD
XT
Channels with MIDI Program Changes.....................................7•6
XT
Tones with MIDI Controllers.........................................................7•6
XT
.........................................................................................7•6
MIDI Setup Trouble-shooting .....................................................................................................7•7
Putting Your Feet to Work ................................................................8•1
FBV Series Foot Controllers ........................................................................................................8•1
Hooking Up ...........................................................................................................................................8•1
Meet the FBV Shortboard ............................................................................................................8•1
Hooking up the Shortboard.....................................................................................................8•1
Pushing Your Buttons........................................................................................................................8•1
Saving and Naming with the FBV Shortboard....................................................................8•3
Using an EX-1........................................................................................................................................8•4
Appendices............................................................................................ 9•1
Amp Models .........................................................................................................................................9•1
MIDI Program Changes ...................................................................................................................9•2
POD
XT
MIDI Controls ....................................................................................................................9•3
FBV Shortboard MIDI Controls..................................................................................................9•7
Line 6 Contact ......................................................................................................................................9•8
Warranty Info........................................................................................................................................9•9
Q
UICK
S
TART
Q
UICK START GUIDE
G
UIDE
or:
•
“Manual? I don’t need no stinking manual!”
1 •
1
ANUAL
“M
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 controls, and then get deep with the inputs and outputs in the
Configurations & Connections
1.
Turn the
2.
Connect the
inputs, or plug the left output into your guitar amp’s input. Or connect
headphones to the
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
5.
Flip the
6. POD
7. Select an Amp Model using the A
8. Turn the E
9. Browse pre-programmed tones using the S
10. Now before you run off, please give the page a quick flip and....
XT 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.
to max and the DRIVE, BASS, MID, TREBLE and PRESENCE to your
heart’s desire. OUTPUT sets the, uh, output level.
R
EVERB and EFFECT TWEAK knobs so you’re happy with the sound. Tap
the TAP tempo button to set the speed of the selected effect.
of the four buttons below the display. You can press any one of those
buttons twice for a “Manual Override” that gives you where-the-knobsare-is-how-it-sounds operation.
DON’T NEED NO STINKING MANUAL
? I
PODxt Pro —
section that starts on page
O
UTPUT
OWER switch to fire up.
P
FFECTS knob to load an Effects Setup, then twist the
L
EFT
L
control all the way down to zero.
EVEL
IGHT OUTPUTS
and
R
HONES
P
to your recorder or mixer’s
jack on your PODXT for silent jamming.
I
(PODXT’s Pro
NPUT
MP MODEL knob. Set the CHAN VOL
ELECT knob or by pressing any
3•8
G
UITAR IN
.
).
!”
QUICK START GUIDE • Register now!
1 • 2
Register now!
Included in this manual is a handy, postage-paid card for you to send back to us to
register your purchase. It’s
right now and drop it in the mail or jump on the Internet and register at the Line 6
very important that you fill that registration card out
Support Center — 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.
Get on-line and get good free stuff!
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
POD
XT ever more powerful.
Connect to www.line6.com to check out ToneTransfer—an extensive, free online
tone library. 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
POD
XT. Visit the discussion boards, and you can learn tips & tricks, trade advice, and
generally hang out and get POD-a-licious with the whole extended family of PODxt
users. Use the FAQTRAQ system to get answers to your technical questions and
contact our product support 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 POD
XT.
QUICK START GUIDE • Introduction
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 POD
since, well, since the guitar amplifier itself! POD
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 nocompromise 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.
XT is about the most amazing thing to happen to the electric guitar
XT delivers the incredible tones of the
1 • 3
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 newlysupercharged 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!—POD
How does POD
XT help you create a guitar tone that is out of this world, and then get
XT was born.
that tone wherever you need it? Easy! It’s…
QUICK START GUIDE • Introduction
1 • 4
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 silicon-based life forms like POD
XT.
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
QUICK START GUIDE • Introduction
and equalization characteristics of the modeled gear were carefully measured so that
changes to knobs on the models 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 POD
XT.
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 softwarebased 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.
1 • 5
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
QUICK START GUIDE • Introduction
1 • 6
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.
POD
XT’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
POD
XT.
•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
QUICK START GUIDE • And Away We Go....
another position, and that the two are separated by a mass of air that sound
spreads through to reach the listener.
All of these important sound-shaping components are accounted for in your
POD
XT. Turn the Amp Model knob to call up the amplifier emulation you want.
POD
XT 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 POD
XT’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 POD
XT Grand Tour....
1 • 7
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 POD
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.
1
Power Switch - Flip this to bring your PODXT to life. PODXT Pro includes a
standard IEC grounded power cable. For POD
pack.
XT, use only the included PX-2 power
XT. The boxed numbers
2• 1
2
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
3
by the O
not set for ridiculous volume before your slap them on your ears. Try an O
setting of about 10 o’clock when first putting the headphones on, them turn up from
there if you need more volume.
So that you hear appropriate sound through the headphones, POD
switches to Studio Mode whenever headphones are connected (for more on Studio
Mode, see “What are you connecting to?” on page 3•2).
UTPUT knob. Any time you use headphones, it important to be sure they’re
UTPUT knob
XT automatically
Controls & Connections
4
Output - This controls the overall output level of PODXT and also sets the
headphone level. Changing the O
get the tone you want at any volume level. This setting is not saved when you store
2• 2
settings into one of the POD
POD
XT Pro users, note that this does not affect the level of the XLR Outputs in Live Mode
(for more on Live Mode, see “What are you connecting to?” on page 3•5).
POD
XT will give the best signal-to-noise performance when you have the OUTPUT
control at max. With the O
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 O
connecting to recording, mixing, and other studio gear, be sure you are plugging
POD
XT’s outputs into line level, not microphone or guitar level inputs. Line level
inputs should allow you to turn POD
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 POD
O
UTPUT to maximum, when setting levels.
5
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.
UTPUT level does not change your tone, so you can
XT’s memory locations.
UTPUT control turned down low, you may get extra hiss—
UTPUT as high as possible when
XT’s OUTPUT up all the way (or close to it) and
XT’s
6
Pedal - Looks like a telephone connector on steroids. Connect optional Line 6
FBV or FBV Shortboard foot controllers here. POD
XT’s do not work with the Line 6
Floor Board and FB4.
7
USB - PODXT’s USB jack lets you connect it directly to most computers, and
record your POD
XT 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 ToneTransfer online tone library, and
POD
XT driver software. All this software—along with directions for using it—is free for
you to download at www.line6.com.
Controls & Connections
8
MIDI In & Out - Connect PODXT to your MIDI equipment to select
Channel Memories (via Program Change messages), or automate POD
XT 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 POD
XT 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 POD
Drive - This knob controls how hard you’re driving the input of the chosen
9
XT and find out what MIDI can do for PODXT and you.
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
10
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.
11
Chan Vol - This knob controls the relative volume level of the “channel” you
are playing through — thus, C
the sounds you store in two different POD
rhythm and lead tones). In general, you want to set the C
HANNEL VOLUME. Use this to balance levels between
XT Channel Memories (say between your
HAN 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 POD
XT’s display.
2• 3
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.
Controls & Connections
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.
2• 4
12
Reverb - How much reverb do you want today? Spin this knob to set the
Reverb level. Several flavors of reverb live inside POD
chambers, halls and plate reverbs.
13
Effects - This knob selects from PODXT’s Effect Setups — which set up a
combination of effects for you (all the details on effects are in Chapter 6, Stompboxes
& Effects). 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 E
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.
14
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 POD
display to show you. The delay time is usually set by the T
scoop, including how you can customize the E
Creating & Storing Sounds. If the effect that E
then, big surprise, E
S
YSTEM button is lit, the EFFECT TWEAK knob adjusts parameter values instead.
XT, including springs, rooms,
FFECTS knob, PODXT
XT’s
AP button. For the inside
FFECT TWEAK knob see Chapter 4,
FFECT TWEAK is “targeting” is off,
FFECT TWEAK won’t change anything. While the EDIT or TUNE/
15
Amp Models - When you spin this knob, it’s essentially like changing what
electronic “circuitry” is running inside POD
XT 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 POD
XT’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).
Controls & Connections
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., 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 POD
XT, 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.
16
Select - The PODXT has 64 Channel Memories that store a huge variety of
complete amp-and-effect selections pre-programmed by the tone mavens at Line 6.
They are arranged in 16 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
POD
XT (the FBV and FBV Shortboard) which are discussed later in Chapter 8.
2• 5
You load POD
XT channels by turning the SELECT knob. You can press one of the four
“soft buttons” under the display to load one of the other channels of the current bank.
When recalling a channel, you may have left the physical B
whereas the just-recalled channel has this control set to max. To change B
ASS knob at minimum,
ASS (or
anything else), just grab the knob you want and tweak. To leave the Channel Memory
world and enter Manual operation, press any of the buttons under POD
XT’s display
twice. The display 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.
When the E
the available display pages. When you press E
parameters; when you press T
system-wide settings; when S
DIT, SAVE or TUNE/SYSTEM button is lit, the SELECT knob selects from
DIT, it selects pages of effect and channel
UNE/SYSTEM, it takes you through all of the Tuner and
AVE 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.
17
Display - PODXT’s LCD (liquid crystal display) is your window into every
parameter and setting available. Here’s how to get around:
Controls & Connections
2• 6
1. When the S
of POD
AVE, EDIT or TUNE/SYSTEM button is lit, a scroll bar on the left side
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 S
ELECT
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 E
18
Soft Buttons - These four buttons operate differently depending on what
FFECT TWEAK knob to do your adjusting.
you’re doing. Generally, these allow you to instantly load one of 4 channels in a bank,
or get you in and out of Manual mode when you double-press (see S
the E
DIT, SAVE, or TUNE/SYSTEM button is lit, you can press a Soft Button to select
the item displayed above it so it can be adjusted with the E
19
Effect On/Off Buttons - These four buttons allow you to quickly turn
FFECT TWEAK knob.
ELECT above). If
any of the four effects on or off (the effects are on when the buttons are lit).
• The C
• The S
• The M
• The D
OMP (Gate) button turns on/off the loaded Compressor effect
TOMP button turns on/off the loaded Stomp-Box effect
OD button turns on/off the loaded Modulation effect
ELAY 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 C
the Compressor and Gate E
take you to the first Stomp Box E
press the E
DIT button) to leave Edit Mode.
To turn off the built-in Noise Gate, double press the C
OMP button two times quickly and you’re instantly taken to
DIT page. Double-pressing the STOMP button will quickly
DIT page. Double-press the same button again (or
OMP button, then turn the
Threshold parameter all the way down.
Controls & Connections
20
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 E
FFECT 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.
21
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:
2• 7
When using a pre-programmed sound, POD
XT 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 E
DIT 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 POD
To save the changes you’ve made to a Channel Memory, press the S
button will start to flash. Just press S
AVE again if you want to overwrite the currently
XT to remember the tweak.
AVE button. The
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 E
DEST, turn the EFFECT TWEAK knob, and you will see that you are switching
FFECT TWEAK knob to change the character. Press the soft button under
through memory locations A, B, C, and D in each of the sixteen numbered banks.
Pick one to store your sound in, and press that S
AVE 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.
After the sound is stored, you can bring it back any old time by simply turning the
S
ELECT 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 POD
XT 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 S
T
WEAK to choose a place to save to, and press SAVE again.
AVE, then DEST, then use EFFECT
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