podxt manual - version 3 (rev h) - english

8/3/2019 PODxt Manual - Version 3 (Rev H) - English

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PODULTIMATE TONE FOR GUITAR

XTPODULTIMATE TONE FOR GUITAR

XT

PODULTIMATE TONE FOR GUITAR + DIG I/O

PROXTPOD

ULTIMATE TONE FOR GUITAR + DIG I/OPROXT

Pilots HandbookAn in-depth exploration o the revolutionary technologies and pulsing tonal pleasures that lurk

within PODxt and PODxt Pro.

includesdetailson Version 3 features.

usefree line 6 MonkeytoMakesureyour PodxtisuPto

date: www.line6.coM/Monkey

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


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PODXT MODELSPODXT, PODXT Live and PODXT Pro all include theStandardand Power Pack Models plus all guitar Cab Models.Seewww.line6.com/modelpack to learn about adding otherModel Pack Models.

STOMPSStandard Power Pack FX Junk ieFACIAL FUZZFUZZ PISCREAMERCLASSIC DIST

OCTAVE FUZZBLUE COMPRED COMP

VETTA COMPAUTO SWELLAUTO WAH

KILLER ZTUBE DRIVEVETTA JUICEBOOST + EQBLUE COMP TREBDINGO-TRONCLEAN SWEEPSEISMIK SYNTHDOUBLE BASSBUZZ WAVEREZ SYNTHSATURN 5 RING MSYNTH ANALOGSYNTH FXSYNTH HARMONYSYNTH LEADSYNTH STRING

BASS OVERDRIVEBRONZE MASTERSUB OCTAVESBENDER

REVERBSStandard Power Pack FX Junkie

LUX SPRINGSTD SPRING

KING SPRINGSMALL ROOMTILED ROOM

BRITE ROOMDARK HALL

MEDIUM HALLLARGE HALLRICH CHAMBERCHAMBER

CAVERNOUSSLAP PLATE

VINTAGE PLATELARGE PLATE

MODSStandard Power Pack FX JunkieSINE CHORUS

ANALOG CHORUSLINE 6 FLANGER

JET FLANGERPHASER

U-VIBEOPTO TREM

BIAS TREM

ROTARY DRUM+HORNROTARY DRUMAUTO PAN

ANALOG SQUARESQUARE CHORUSEXPO CHORUSRANDOM CHORUSSQUARE FLANGEEXPO FLANGELUMPY PHASEHI-TALKSWEEPERPOD PURPLE XRANDOM S/HTAPE EATERWARBLE-MATIC

DELAYStandard Power Pack FX Junkie

ANALOG DELAYANALOG W/ MODTUBE ECHO

MUTLI-HEADSWEEP ECHO

DIGITAL DELAYSTEREO DELAYPING PONGREVERSE

ECHO PLATTERTAPE ECHOLOW REZPHAZE EKOBUBBLE ECHO

DELAYSStandard Power Pack FX Junkie

ANALOG DELAYANALOG W/ MODTUBE ECHO

MUTLI-HEADSWEEP ECHO

DIGITAL DELAYSTEREO DELAYPING PONGREVERSE

ECHO PLATTERTAPE ECHOLOW REZPHAZE EKOBUBBLE ECHO

WAHSStandard Power Pack FX JunkieVETTA WAH

JEN FASSELWEEPERCHROMECHROME CUSTOMTHROATYCONDUCTORCOLORFUL

STANDARD & POWER PACK AMP MODELS# Standard Power Pack0 BYPASS1 TUBE PREAMP2 LINE 6 CLEAN3 LINE 6 JTS-454 LINE 6 CLASS A5 LINE 6 MOOD6 SPINAL PUPPET7 LINE 6 CHEM X8 L IN E 6 I NSA NE9 LINE 6 ACO 210 ZEN MASTER11 SMALL TWEED12 TWEED B -MAN13 TINY TWEED14 BLACKFACE LUX15 DOUBLE VERB16 TWO-T0NE17 HIWAY 1001 8 PLEXI 45 PP

19 PLEXI LEAD 10020 PLEXI JUMP LEAD21 PLEXI VARIAC22 BRI T J -80023 BRIT JM PRE24 MATCH CHIEF25 MATCH D-3026 TREADPLATE DUAL27 CALI CRUNCH

28 JAZZ CLEAN2 9 SOLO 10 030 SUPER O31 CLASS A-1532 CLASS A-30 TB33 L6 AGRO33 L6 LUNATIC34 L6 TREADPLATE36 VARIAX ACOUSTIC101 CITRUS D-30102 CLASS A-30 FAWN103 BRIT GAIN 18104 J-2000 #2105 LINE 6 BOUTIQUE

106 LINE 6 MODERN GAIN #1

METAL SHOP AMPS# Amp Model37 BOMBER UBER3 8 C ON OR 5039 DEI TY LEAD40 DEI TY S SON41 ANGEL P-BALL42 BRI T SL IVER43 BRIT J -900 CLN44 BRIT J-900 DST

45 BRI T J-200046 DIAMOND PLATE47 CRIMINAL48 L6 BIG BOTTOM49 L6 CHUNK CHUNK50 L6 FUZZ5 1 L6 OCT ON E5 2 L6 S MAS H53 L6 SPARKLE CLN54 L6 THROTTLE

COLLECTOR CLASSICS AMPS# Amp Model55 BOMBER X -TC56 DEITY CRUNCH57 BLACKFACE VIBRO58 DOUBLE SHOW59 SILVERFACE BASS60 MIN I DOUBLE61 G IBTONE EXPO6 2 BRIT BAS S

63 BRI T MAJOR64 SILVER TWELVE65 SUPRO 62 THUDERBOLT6 6 L6 BAY OU67 L6 CRUNCH6 8 L6 PURGE69 L6 SPARKLE70 L6 SUPER CLN71 L6 SUPERSPARK7 2 L6 T WA NG

CAB MODELS# Cab Model0 NO CAB1 1X6 SUPER O2 1X8 TWEED3 1 X1 0 G IB TON E4 1 X1 0 G -BRA ND5 1X12 LINE 66 1X12 TWEED7 1X12 BLACKFACE8 1X 12 CLASS A9 2X2 MINI T10 2X12 L INE 611 2X12 BLACKFACE12 2X12 MATCH13 2X12 JAZZ14 2X12 CLASS A15 4X10 L INE 616 4X10 TWEED17 4X12 L INE 618 4X12 GREEN 20S19 4X12 GREEN 25S20 4X12 BRIT T7521 4X12 BRIT V30S22 4X12 TREADPLATE23 1X15 THUNDER24 2X12 WISHBOOK

GUITAR AMPS & CABS

BASS EXPANSION AMPS# Amp Model73 TUBE PREAMP74 L6 CLASSIC JAZZ75 L6 BRIT INVADER76 L6 SUPER THOR77 L6 FRANKENSTEIN78 L6 EBONY LUX79 L6 DOPPELGANGER80 SUB DUB8 1 AM P 36 082 JAGUE R83 ALCEMIST84 ROCK CLASSIC8 5 FL IP T OP86 ADAM AND EVE87 TWEED B -MAN88 SILVERFACE BASS89 DOUBLE SHOW90 EIGHT IES91 H IWAY 10092 HIWAY 20093 BRI T MAJOR94 BRI T BASS95 CALIFORNIA9 6 JA ZZ T ON E9 7 STAD IU M98 STUDIO TONE99 MOTOR CI TY100 BRIT CLASS A100

BASS EXPANSION CABS# Cab Model25 1X12 BOUTIQUE26 1X12 MOTOR CITY27 1X15 FLIP TOP28 1X15 JAZZ TONE29 1X18 SESSION30 1X18 AMP 36031 1X18 CALIFORNIA32 1X18+12 STADIUM33 2X10 MODERN UK34 2X15 DOUBLESHOW35 2X15 CALIFORNIA36 2X15 CLASS A37 4X10 L INE 638 4X10 TWEED39 4X10 ADAM EVE40 4X10 SILVERCONE41 4X10 SESSION42 4X12 HIWAY43 4X12 GREEN 20S44 2X12 GREEN 25S45 4X15 BIG BOY46 8X10 CLASSIC

EFFECTS

BASS AMPS & CABS


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17

3

21

22

7

141627

28

31 32 33 34 35 366

29 30

1

4

10

1112 2

15

1318

20

25

26

MOD

8

24

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/THRUINFBV Class Foot Controller only

(not compatible with Floor Board or FB4)

GROUND LIFT

L/MONO R/MONO LEFT RIGHT OUTIN

IN

OUTGROUND

ANALOG REAMPING INPUT/OUTPUT

LEFT/MONO R IG HT L EF T/ MONO RIGHT

BALANCED ANALOG OUT AES/EBU S/PDIF

MIDI

Line LevelInput UnprocessedGuitar Out 100 - 120V ~50 - 60Hz

100 W Max.

POWER REQUIREMENTS

USBPEDAL

UNBAL ANALOG OUT

N222

CAUTIONRISKOF ELECTRIC SHOCK

DO NOTOPEN

EFFECTS RETURNEFFECTS SENDUnbalanced

Balanced: Tip = + / Ring = -

SET MODES & LEVELS VIAI/O & DIG SELECT BUTTON

SERIES/PARALLEL VIAI/O & DIG SELECT BUTTONSTUDIO: RECORDING OUTPUTLIVE:FEED TO ONSTAGE AMP

STUDIO: +4 dBuLIVE:-10 dBV

0 10 0 10 0 10

0 100 100 10CLIP

SIGNAL

MIDDLE TREBLEBASSDRIVE PRESENCE

CHAN VOLREVERB OUTPUT

AMP MODELS

EFFECTS

Guitar inPHONES

0 10 I/O & DIGSELECT

INPUT LEVEL

NORMAL PAD

PODPROXT

ULTIMATETONE FOR GUITAR + DIG I/O

POWER

0 10

WARNING/AVIS:SHOCKHAZARD DONOTOPEN.RISQUEDECHOC LECTRIQUENEPASOUVRIR.TOREDUCETHERISKOFFIRE ORELECTRICSHOCK DONOTEXPOSETHIS EQUIPMENTTORAINORMOISTURE. TOREDUCETHE RISKOFELECTRIC SHOCKDO NOTREMOVE COVER.NO USER SERVICEABLEPARTSINSIDE. REFER SERVICINGTO QUALIFIEDSERVICE PERSONNEL.

THISDEVICECOMPLIESWITH PART15OF THEFCCRULES.OPERATIONIS SUBJECT TOTHE FOLLOWINGTWOCONDITIONS:(1)THIS DEVICEMAYNOTCAUSEHARMFULINTERFERENCE,AND (2) THIS DEVICEMUSTACCEPTANYINTERFERENCERECEIV ED,INCL UDING INTERFERENCETH AT

MAYCAUSEUNDESIREDOPERATION.

Save Sound to Channel Memory Custom Save Amp Model MIDI Dump

Tuner What are you connecting to?

Display contrast 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


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1

2

7

17

6

MIDDLE

0 10

TREBLE

0 10

BASS

0 10

DRIVE

0 10

PRESENCE

0 10

CHAN VOL

0 10

REVERB

0 10

PODULTIMATE TONE FOR GUITAR

XT

PODXT CONTROLS REFERENCE

OUTPUT

EFFECTSAMP MODELS

0 10

EFFECTTWEAK

SELECT

4

9

10

10 10

10

11

12

15 13

1416

1822

21 23

24

20

85

3

19

MOD

NAVIGATION REFERENCE

SELECT

When EDIT, SAVE or TUNER is lit, SELECTselects pages

Otherwise, SELECT chooses ChannelMemories

MOD

For Comp, Stomp, Mod, and Delay, the effect is onwhen lit.

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

Double press an effect button to go straight to itsEDIT 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 contrast

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


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4

1

10

78 9

FX LOOP STOMP BOX 1 STOMP BOX 2 STOMP BOX 3

WAH PEDAL 1 PEDAL 2VOLUME

DELAYMODULATIONTREMOLOREVERB TAP TEMPO AMP 2AMP 1

HOLD FOR TUNER

CUSTOM FOOT CONTROLLER

FACTORY/USER

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

STOMP MODULATION REVERB

FX LOOP

HOLDFORTUNER

TAPCHANNEL BCHANNEL A CHANNEL DCHANNEL C

FBV SHORTBOARD

DELAY

1

4

7 8 9

3

2

3

4

2

5 611

12

10

11

13

12

FBV SERIES REFERENCE


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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 soundyoure looking for! Choose from:MIC 1.........................................................57 ON AXISMIC 2 .......................................................57 OFF AXISMIC 3 .....................................................421 DYNAMICMIC 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 identifyingthe specific products that were studied during Line 6s sound model development.

LEFT OUTPUT

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

EQ

GATE

VOLUME

MODULATION DELAY

WAH STOMP DELAY

VOLUME

Use the VIBE parameter to adjust the sound for your particularLive setup. Experiment with all the options, since differentamp/cab combinations can give very different results, and youmay get the best sound with an unusual combination of settings.

SIGNAL FLOW & EFFECTS ROUTING OPTIONS


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PODxt Pilots Handbook 2006, Line 6, Inc.

The serial number can be ound on the underside o your PODxt, or back panel o yourPODxt Pro. Its the number that begins with (21). Please note it here or uture reerence:

SERIAL NO:

WARNING: To reduce the risk o re or electricshock, do not expose this appliance to rain or moisture.

CAUTION: To reduce the risk o re or electric shock, do notremove screws. No user-serviceable parts inside. Reer servicing toqualied service personnel.

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

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

The lightning symbol within a triangle meanselectrical caution! It indicates the presenceo inormation about operating voltage andpotential risks o electrical shock.

The exclamation point within atriangle means caution! Pleaseread the inormation next to allcaution signs.

You should read these Important Safety Instructions

Keep these instructions in a safe place

Beore using your PODxt, careully read the applicable items o these operating instructions and saety suggestions:

1. Obey all warnings on the PODxt and in this Pilots 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 o 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 o the unit).

5. Do not step on power cords. Do not place items on top o 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 or extended periods o time.

7. Do not perorm service operations beyond those described in the PODxt Pilots Handbook. In the ollow-

ing

circumstances, repairs should be perormed only by qualied service personnel: liquid is spilled into the unit

an object alls into the unit

the unit does not operate normally or changes in perormance in a signicant 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 sae listening.


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Please Note:

Line 6, POD, Podxt, Podxt Pro, Vetta, FBV, FBV Short-

board, FBV4, Amp Farm, Line 6 Edit and Custom Tone

are trademarks o Line 6, Inc. All other product names,

trademarks, and artists names are the property otheir respective owners, which are in no way associ-

ated or afliated with Line 6. Product names, images,

and artists names are used solely to identiy the prod-

ucts whose tones and sounds were studied during Line

6s sound model development or this product. The

use o these products, trademarks, images, and artists

names does not imply any cooperation or endorsement.


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contents

Quick Start Guide 11

Register now! 12

Go on-line and get more stu! 12

Introduction 13

Welcome To PODxt... . . . . . . . . . . . . . . . 13

Who is Line 6? . . . . . . . . . . . . . . . . . 13

Modeling. . . . . . . . . . . . . . . . . . . . 14

Amp, Cab and Eect Models . . . . . . . . . . . . 14

Theres Magic in the A.I.R.. . . . . . . . . . . . . . 15

And Away We Go.... . . . . . . . . . . . . . . . . 17

Controls & Connections 21

PODxt Pro 210

Getting Set Up 31

All Purpose Basics 31

What are you connecting to? . . . . . . . . . . . . 32

The Ins and Outs o Great Tone . . . . . . . . . . . 32

Setting Levels . . . . . . . . . . . . . . . . . . 33

Radiation Alert . . . . . . . . . . . . . . . . . 33

Pedal Power . . . . . . . . . . . . . . . . . . 34

MIDI Mania . . . . . . . . . . . . . . . . . . 34

Re-Amping 34

What is Re-Amping? . . . . . . . . . . . . . . . 34


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PODxt Playing Live 39

Mount Up . . . . . . . . . . . . . . . . . . . 39

Keeping Your Options Open . . . . . . . . . . . . . 39


Getting The Right Tone With An Amp. . . . . . . . . . 311

External Stomp Boxes andPODxt... .. .. .. .. .. .. .. .. .312

PODxt Pro Confgurations & Connections 313

Selecting An Input . . . . . . . . . . . . . . . . 313

Input & Digital Out Options . . . . . . . . . . . . . 314

FORMAT: Sample rate, word length (bit depth), and clock source 314

MODE: Normal or Dry Guitar 315

GAIN: Extra gain on the digital outs 315


FX Loop . . . . . . . . . . . . . . . . . . . . 317

AES/EBU or S/PDIF Data Format? . . . . . . . . . . 318

Radiation Alert . . . . . . . . . . . . . . . . . 318

Pedal Power . . . . . . . . . . . . . . . . . . 319

MIDI Mania . . . . . . . . . . . . . . . . . . 319

Re-Amping with PODxt Pro 319

Analog Re-amping . . . . . . . . . . . . . . . . 319

Digital Re-amping . . . . . . . . . . . . . . . . 321

Creating & Storing Sounds 41

Recalling Channel Memories 41

Recalling Eect Setups 41

Editing Basics 41

Double Press or Easy Access . . . . . . . . . . . . 42


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Inside the Edit Menu 42

Amp knob settings . . . . . . . . . . . . . . . . 43

Amp Bypass Channel Volume . . . . . . . . . . . . 43

Cabinet and Mic settings (Theres magic in the A.I.R.!) . . . 44

Comp/Gate settings. . . . . . . . . . . . . . . . 44

EQ settings . . . . . . . . . . . . . . . . . . . 45

Stomp settings . . . . . . . . . . . . . . . . . 46

Mod and Delay settings . . . . . . . . . . . . . . 46

Confg . . . . . . . . . . . . . . . . . . . . . 47

Setting your Tone to Tempo 48

Reverb settings 48

Wah Settings 49

Volume Settings 49

Assigning the Pedal and Tweak Knob and dialing in Tempo 410

Saving Yoursel 411

Saving a Channel Memory . . . . . . . . . . . . . 411

Custom Saving Amp Models . . . . . . . . . . . . . 412

Custom Saving Eect Setups . . . . . . . . . . . .413

MIDI Dumps . . . . . . . . . . . . . . . . . . 414

Modeled Amps & Cabs 51

Which Amps and Cabs Are Modeled? 51

Cabinet Models 534

Eect Model Details 61

Comp 61

Gate 62


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v

The Stomp Eects: Fuzz, Distortion, Overdrive 63

Stomp Eects: Compressors 69

The Wah Pedals 613

The Modulation Eects 615

The Delay Eects 623

Reverb 630

MIDI 71

MIDI Basics 71

Whats MIDI? . . . . . . . . . . . . . . . . . . 71

In/Out . . . . . . . . . . . . . . . . . . . . 71

MIDI Channel . . . . . . . . . . . . . . . . . . 72

MIDI Messages . . . . . . . . . . . . . . . . . 73Backing Up PODxt Programs to Other Devices 74

Other Things You Can Do with MIDI 76

ChangingPODxt Channels with MIDI Program Changes . . 76

TweakingPODxtTones with MIDI Controllers . . . . . . 76

Full MIDI Automation oPODxt... .. .. .. .. .. .. .. .. .. .. 76

MIDI Setup Trouble-shooting 77

Putting Your Feet to Work 81

Meet the FBV Shortboard 81

Pushing Your Buttons 81

Saving and Naming with the FBV Shortboard 83

Using an EX-1 84

Appendix A: Amp Models 91


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v

Appendix B: MIDI Program Changes 93

Appendix C: PODxt MIDI Controls 94

Appendix D: Note Value Controller Values 97


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Quick Start Guid

11Quickstart Guide

or:

Manual? I dontneednostInkIngmanual!PoDxt Pro owners, i youre going to use anything beyond the standard guitar input and analogoutputs, we cant cover all your options on this brie page. See Chapter 2 to learn about con-trols, and then get deep with the inputs and outputs in the PoDxt Pro Confgurations &Connections section that starts on page 38.

1. Turn the OutputLevel control all the way down to zero.2. Connect the Let and Right Outputs to your recorder or mixers inputs, or

plug the let output into your guitar amps input. Or connect headphones to thePhones jack on your PODxt or silent jamming.

3. Connect the included power pack or power cable to your PODxt, and plug theother end into a power jack.

4. Connect your guitar to PODxts Input (PODxts Pro Guitar In).5. Flip the Power switch to re up.6. PODxt comes ready to rock or direct connection to your recording setup. If

youre connecting to a guitar amp, its essential to let your PODxt know soit gives you the best tone. Do this by pressing Tune/System, then turning theSelect knob one step clockwise. Press the button below Dest (Destination) andthen turn the Eect Tweak knob to tell your PODxt what type o amp youre

connecting to.PODxt

will automatically override this setting when you plug inheadphones, so you dont 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 hearts desire. Out-put sets the, uh, output level.

8. Turn the Eects knob to load an Eects Setup, then twist the Reverb andEectTweak knobs so youre happy with the sound. Tap the Tap tempo button

to set the speed o the selected eect.9. Browse pre-programmed tones using the Select knob. Press the ar let button

under the display when the Edit button is NOT lit or a Manual Override andwhere-the-knobs-are-is-how-it-sounds operation.

Now beore you run o, please give the page a quick fip and....

Q i k St t G id


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Quick Start Guid

12

Register now!

Included in this manual is a handy, postage-paid card or you to send back to us to regis-

ter your purchase. Its very important that you ll that registration card out right nowand drop it in the mail, or jump on the Internet and register at www.line6.com. Register-ing insures that youre dialed in or warranty service (warranty ino is at the end o thismanual) and insures we can contact you i new sotware versions or other cool enhance-ments are oered cutting edge technology and such.

Go on-line and get more stu!

Here at Line 6, our mission is to help you be more creative by bringing you powerulnew technologies. As part o that mission, we ocus great eort on making the Internet avaluable resource or every one o our customers. The Line 6 web site is one o the mosteective ways or us to deliver you what you need to make you and your PODxt evermore powerul.

Connect towww.line6.com to check out Custom Tonea truly massive, ree, exclu-

sive-to-Line-6 online tone library that gives you instant access to the signature sounds othe greatest guitarists, bands, songs and gear o all time. It integrates with the ree Line6 Edit sotware that lets you edit your PODxts sounds, and save copies o them on yourcomputer. Our web site is also the place to download our GuitarPort sotware and USBdriver sotware, all ree or your PODxt. You can even add more Models to your PODxt(seewww.line6.com/modelpacks or the details on that). And to make it easy to getall this cool, computer-related stu, look or the handy Line 6 Monkey utility, down-loadable rom our web site, which will check or and install the latest versions o every-

thing or you! Visit the discussion boards to learn tips & tricks, trade advice, and general-ly hang out and get POD-a-licious with the whole extended amily oPODxt users. Usethe Support pages to get answers to your technical questions and contact our customerservice experts. Or grab electronic versions o this book and other documentation, learnwhat your avorite artists are doing with Line 6 gear, and see the latest products wereintroducing or you.

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


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Quick Start Guid


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Quick Start Guid

14

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

To answer that question, well start with tubes (better know as valves to our riends inEngland and elsewhere). Tubes, we can all agree, are the heart and soul o pretty muchevery legendary guitar amp, and are key to the warm, harmonic-rich tone quality othose amps. Solid state devices (transistors) are simply unable to duplicate tube warmthand perormance. And hybrids a tube in a circuit along with a bunch o transistors are really a vain attempt at warming up a transistor-based tone. They all short in anycomparison to a 100% tube circuit. So thats it tubes or nothin, right? Well, not anymore....

You see, Line 6s team o crack engineer-guitarists has spent years understanding prettymuch everything there is to know about tube-powered gear, including exactly how di-erent types o tubes respond under various conditions typical o guitar amplier design.How tubes process an input signal, how the signal is colored and shaped, at what point itbegins to distort, the quality and characteristic o the distortion, what happens when thesignal gets to other parts o the system complicated stu, but all analyzable as elec-

tronic data. A guitar pickup output, ater all, is an electronic signal, and tubes and all therest are really just a complex orm o signal processing.

Having sussed it all out, the Line 6 engineers translated all this arcane knowledge intosotware that simulates the signal processing o guitar amps tubes and other electronics,entirely within the digital domain. Cool, huh? The Line 6 crew also directed their ca-eine-enhanced modeling attention to a study o guitar speaker cabinets and the impor-

tant part they play in communicating great guitar tone. And the great variety o stompbox and rack eects that guitarists use to juice things up. They translated it all intoyet more powerul sotware, and its this revolutionary DSP (Digital Signal Processing)sotware-based modeling technology that gives Line 6 the power to create super silicon-based lie orms like PODxt.

Amp, Cab and Eect ModelsThe tone and technology know-how o Line 6 thus comes to you asAmp, Cab and EectModels based on a collection o gear recognized by guitarists the world over as true toneclassics. These models were tweaked through careul, scientic A/B comparisons to thegear that inspired them, with an ear open or the eects o dierent volume levels andsettings o the originals tone and gain controls. The gain and equalization characteris-tics o the modeled gear were careully measured so that changes to knobs on the models

Quick Start Guid


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Quick Start Guid

15

would mirror the eects o these changes on the originals as closely as possible. Weretalkin major attention to detail here. Tone control center requencies, slopes, and cut/boost range were painstakingly analyzed, in addition to a whole host o actors unique

to each piece o gear. Not only that, but since many classic amps and eects have highlyinteractive circuits, we paid careul attention to the way that the setting o one knobchanges the way that another knob may behave. All in an eort to make our Models asmuch like the amps, cabs and eects in our collection as possible. The resulting Amp,Cab and Eect Models are the oundation oPODxt.

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

1. The Line 6 modeling process is a patented, 100% digital sot-

ware-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.

Theres Magic in the A.I.R.PODxt delivers its modeling tones through another innovation: Line 6s A.I.R. directrecording output. The A.I.R. (acoustically integrated recording) technology is the resulto intensive research and careul study o the tonal characteristics produced by the inter-action o ampliers, cabinets, speakers, microphones and the recording room during therecording process.

The direct output o many preamps, ampliers and direct box-style amp replacementsavailable today oer some limited orm o cabinet simulation or speaker emulation.Those that happen to be more than simple high end roll-os have little or no controloptions. Generic cabinet simulations cannot reproduce the markedly dierent tonesresulting rom the choice o speakers, wood, and other details o a great real-lie speakercabinet. Other equipment also ails to reproduce the signicant tonal contribution omicrophone selection and placement, and do nothing to reproduce the subtle ambience

o the recording space.

The result is the amiliar dissatisaction with direct recording products even thosethat deliver a reasonably usable basic tone ail to reproduce the lie o the guitar sound,and destroy the proper eel in the process. It is as i your guitar strings became heavierand less responsive, like they just went up a couple o gauges when you plugged into yourdirect box. And your sound lost its lie.

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PODxts combination o Amp Models and A.I.R. technology provides superior directtones by recreating all the elements contributing to a great recorded guitar sound, andgiving you that tone with the same eel as playing through a real amp and speaker cabi-

net:

The eect o the guitar amplier circuit is emulated by the Amp Model you choose.Each model was developed rom extensive study o a classic amplier treasured as atone classic.

In a guitar amp, once the guitar signal passes through the electronics, it is outputto one or more speakers in a speaker cabinet. The specic design o the speakers, howmany there are, and how they are arranged contributes signicantly to your guitartone, as does the construction and resulting tone o the wood box itsel. A Marshallhead driving a single 12-inch speaker in an open-back cabinet, or instance, will sounddramatically dierent rom the same head driving a 4x12 closed-back cabinet. Line 6has careully constructed virtual sotware speaker cabinets that emulate the contribu-tion made by real speaker cabinets to get great guitar sound.

Once the sound makes it out o the speaker cabinet, the next important link in therecording system is the microphone that receives that sound. Guitar recordists selectdierent microphones, and arrange them in dierent placements, to get particularsounds. A microphone pointing directly into the cone o a speaker will hear somethingdierent than one positioned o-axis. Line 6 careully analyzed the coloring that vari-ous microphones add to the guitar sound, as well as the eects o dierent mic place-ment techniques, and gave you control o these details in your PODxt.

The guitar amp, cabinet, and microphone dont just sit in empty space. The roomthat they are in contributes importantly to the guitar sound you will record. Reverbcan be used to capture the basic character o the space, simulating the eect o thesound refecting o the rooms walls, foors and ceiling. But there are other subtledetails that have more to do with the spread o the sound as it passes through the airbetween the speaker and microphone. This nal component is the key to the sensethat 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 o air that sound spreads through toreach the listener.

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All o these important sound-shaping components are accounted or in your PODxt.Turn the Amp Model knob to call up the amplier emulation you want. PODxt auto-matically matches that amplier with an appropriate cabinet and microphone setup, and

gives you the sound o that setup coming through the air o a recording space. Turn thereverb knob to taste, and start recording incredible micd up sound. Press a button andtwiddle a knob or two, and you can switch cabinets, change out mics and their place-ment, and adjust the spread o the sound in your virtual room as well.

The A.I.R. direct recording output is exclusive to Line 6. In combination with the Line6 Amp, Cab and Eect Models, it is the key to PODxts phenomenally satisying directrecording sound.

And Away We Go....So, now that you know whats in store, its time to experience PODxt or yoursel. Grabyour avorite axe, plug in, and fip back to the handy Quick Start Guide on the rstpage o this chapter i you havent already been through that. Then old out the back

cover and ollow me, my riend, or the PODxt Grand Tour....

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controls & connections

Now would be a good time to turn to the nity back cover o this manual and noticethat it olds out. Ooh, pretty pictures! The idea is to have this essential pictorial reer-ence always opened out while youre thumbing through the manual. Its also got all theessential details or quickly getting around on your PODxt. The boxed numbers that popup throughout this manual correspond to the numbers on the oldouts illustrations. Theback side o the covers got handy pictures or the FBV and FBV Shortboard oot con-

trollers, plus signal fow and connection guides.

1 Power Switch - Flip this to bring your PODxt to lie. PODxt Pro includesa standard IEC grounded power cable. For PODxt, use only the included PX-2 powerpack.

2 Input/Guitar In - Plug your guitar in here. (You techies will want to knowthis is a mono, un-balanced connection).

3 Phones - Plug your headphones in here or silent concertos. The volume is setby the Outputknob. Any time you use headphones, it important to be sure theyre not

set or ridiculous volume beore your slap them on your ears. Try an Outputknob settingo about 10 oclock when rst putting the headphones on, them turn up rom there i youneed more volume.

So that you hear appropriate sound through the headphones, PODxt automaticallyswitches to Studio Mode whenever headphones are connected (or more on StudioMode, see What are you connecting to? on page 32).

A quick note about headphones: Earbuds and headphones designed or use with portableMP3 players and tape players are very low impedance as well as not very accurate inrequency response. This makes them not suitable or use with PODxt. We recommend apair o 150-600 ohm pro or semi-pro level studio headphones or best results.

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4 Output - This controls the overall output level oPODxt and also sets theheadphone level. Changing the Outputlevel does not change your tone, so you can getthe tone you want at any volume level. This setting is not saved when you store settings

into one o the PODxts memory locations.

PoDxt Pro users, note that this does not aect the level o the XLR Outputs in Live Mode (ormore on Live Mode, see What are you connecting to? on page 35).

PODxt will give the best signal-to-noise perormance when you have the Outputcon-trol at max. With the Outputcontrol turned down low, you may get extra hisswhichobviously aint what you wanti you turn up your mixer or recorders output to com-pensate. In order to allow you to set the Outputas high as possible when connecting torecording, mixing, and other studio gear, be sure you are plugging Podxts out-puts into line level, not microphone or guitar level inputs. Line level inputs shouldallow you to turn PODxts Outputup all the way (or close to it) and thereby get the bestsound possible. I your gear has inputs that unction as mic/line level inputs, try to set thetrim or those inputs to the minimum level, and PODxts Outputto maximum, whensetting levels.

5 Let & Right Output -(See numbers 33 and 34 or PoDxt Pros 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 10dBVequipment and standard guitar cables. I you need mono output, you can use either one.

6 Pedal - Looks like a telephone connector on steroids. Connect optional Line6 FBV or FBV Shortboard oot controllers here. PODxts do not work with the Line 6Floor Board and FB4.

7 USB - PODxts USB jack lets you connect it directly to most computers, andrecord your PODxt directly to a wide variety o popular recording sotware. Weve in-

cluded a USB cable or use with our GuitarPort Windows sotware, Line 6 Edit sotwareor Mac OS X and Windows, our Custom Tone online tone library, and PODxt driversotware. All this sotwarealong with directions or using itis ree or you to down-load atwww.line6.com.

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8 MIDI In & Out - Connect PODxt to your MIDI equipment to select Chan-nel Memories (via Program Change messages), or automate PODxt settings (via control-lers and/or SySex). You can also use MIDI (or USB) to communicate with the ree Line

6 Edit sotware downloadable romwww.line6.com. The PODxtMIDI OUT connectsto another devices MIDI IN; its MIDI IN goes to another devices MIDI OUT. Pleasealso see Chapter 7, Deep Editing and MIDI Control, to setup your MIDI gear withPODxt and nd out what MIDI can do or PODxt and you.

9 Drive - This knob controls how hard youre driving the input o the chosen AmpModel. Like the input volume control on a non-master volume guitar amp, higher set-tings give you more dirt.

10 Tone Controls -Bass,middle, treBle, presence. Just like any guitar amp,only when you change Amp Models, the response and interactivity o the controlschanges, too so they act like the tone controls o the original amp that inspired theAmp Model youve selected.

11 Chan Vol - This knob controls the relative volume level o the channel youare playing through thus, channel VOlume. Use this to balance levels between thesounds you store in two dierent PODxt Channel Memories (say between your rhythmand lead tones). In general, you want to set the chan VOl as high as possible to insureyoure getting the best signal-to-noise ratio perormance but back o on this control i

youre seeing CLIP inPODxt

s display.

TIP: You probably want to have all o your avorite sounds as loud as possible,while also having the right dierence in volume between your lead and rhythmsounds, clean and dirty sounds, etc. Right? OK, then, to get this happy balance,start with your avorite clean sounds. Turn up their Chan Vol as high as you canwithout getting the CLIP indicator in PODxts display when you strum hard. and

save them that way. Then switch amongst them to see i some are too loud, andturn them down a bit to match well with the others. Next, move on to selectyour dirtier crunch and lead tones, comparing them to the clean sounds andsaving 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 levelyou like, and you can switch amongst your various sounds without unhappy vol-ume dierences.

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12 Reverb - How much reverb do you want today? Spin this knob to set the Reverblevel. Several favors o reverb live inside PODxt, including springs, rooms, chambers,halls and plate reverbs.

13 Eects - This knob selects rom PODxts Eect Setups which set up a com-bination o eects or you (all the details on eects are in Chapter 6, stOmpBOxes &effects). Think o each Eect Setup as a virtual pedal board or outboard gear rack thatyou can match with any Amp Model. When you turn the effects knob, PODxt showsthe name o the Eect Setup that is loaded and youll hear the eects change instantly.The eect buttons light to show which eects are on. There are 64 o these eect rigspre-programmed and ready or you to use.

14 Eect Tweak - This knob varies some aspect o the eect youve chosen. Turnit up and the eect will generally go deeper, louder, aster, longer or just plain more.Youll know what youre tweakin because a window will pop up on PODxts display toshow you. The delay time is usually set by the tapbutton. For the inside scoop, includ-ing how you can customize the effecttweakknob see Chapter 4, Creating & Storing

Sounds. I the eect that effecttweakis targeting is o, then, big surprise, effecttweakwont change anything. While the editor tune/system button is lit, the effecttweakknob adjusts parameter values instead.

15 Amp Models - When you spin this knob, its essentially like changing whatelectronic circuitry is running inside PODxt to make your amp sound. (See the groovy

details in Chapter 5, Modeled Amps and Cabs.) Youll see the Amp Model nameschange in PODxts display. When you choose an Amp Model, Cabinet and MicrophoneModels are also loaded automatically. For instance, when you choose the Brit Hi Gainmodel (based on the classic Marshall JCM 800 head), a Cabinet Model based on a Mar-shall 4x12 will be loaded with it. You can also choose a dierent cabinet/mic setup bypressing the caB/a.i.r. button (below).

In act, Amp Models automatically load with all the amp-related settings pre-set or

a ready to go tone. Drive, Bass, Mid, Treble, Presence, Cab/A.I.R., EQ etc. will all bedetermined by the Amp Model you choose giving you a ready-to-rock sound withthe turn o just this one knob. Once you get amiliar with PODxt, you can change theseamp-associated deaults to customize the settings o each o the Amp Models to t yourtastes.Note that when youre in Manual Mode, Drive, Bass, Mid, Treble, Presence, ChannelVolume and Reverb are set by the physical knob positions instead o being automatically set withthe amp selection. Complete details are in Chapter 5.

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16 Select - The PODxt has 128 Channel Memories. They are arranged in 32 bankso our channels each. (The our are called A, B, C, and D.) You can think o each bankas a sort o virtual our-channel guitar amp and youll nd that the same layout is used

on the optional Line 6 oot controllers or PODxt (the FBV and FBV Shortboard) whichare discussed later in Chapter 8.

The rst 64 Channel Memories (Banks 1-16) store a variety o complete amp-and-eectselections pre-programmed by the tone mavens at Line 6. The second 64 (Banks 17-32)are let or your own creations (or you can load them up with one o the thousands ogreat tones youll nd at customTone.com).

You load PODxt channels by turning the selectknob. When recalling a channel, youmay have let the physical Bass knob at minimum, whereas the just-recalled channel hasthis control set to max. To change Bass (or anything else), just grab the knob you wantand tweak.

To leave the Channel Memory world and enter Manual operation, make sure the editbutton is not lit, and press the Sot Button 18below the wordmanual. The display

will read Manual Mode to let you know youve got WYSIWYG (what-you-see-is-what-you-get) operation, and all the physical knob positions are being used to determine yoursound. More on all this later.

When the edit, saVe or tune/system button is lit, the selectknob selects rom theavailable display pages. When you press edit, it selects pages o eect and channel pa-rameters; when you press tune/system, it takes you through all o the Tuner and system-wide settings; when saVe is lit, youll nd amp and eect customization eatures as wellas MIDI dump operations. The vertical scroll bar on the let side o each display pageshows you where you are in that group o pages.

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17 Display -PODxts LCD (liquid crystal display) is your window into every param-eter and setting available. Heres how to get around:

1. When the Save, Edit or Tune/System button is lit, a scroll bar on the let side oPODxts display shows you where you are in the available display pages. Press oneo these buttons to see the scroll bar now. For those that really need to get all thenerdy 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 youre on the rstpage, the little square is at the top. When you get to the last page, the squares at thebottom. Square goes up, square goes down. Square goes up, square goes down. Fun orthe whole amily!

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

18 Sot Buttons - These our buttons operate dierently depending on what

youre doing.

I the editbutton is NOT lit, the PODxts display will look about like this:

You can press the ar let Sot Button to enablemanual mode. Press the second Sot But-ton rom the let to show the saved settings o the Amp Models tone controls, then pressthe lit editbutton to exit that display. Press one o the two Sot Buttons on the right toturn the Gate and eQ eects on/o (in the illustration, the Gate eect is o, and theEQ eect is on). Double-pressing the button or Gate or eQ will jump you right to thedetailed settings or those eects. You can then press the lit editbutton when yourenished tweaking.

I the editbutton IS lit, the Sot Buttons will let you select which displayed settingyoud like to tweak. See Chapter 4 or the detail on that.

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19 Eect On/O Buttons - These our buttons allow you to quickly turn anyo our eects on or o (the eects are on when the buttons are lit).

The cOmpbutton turns on/o the Compressor eect The stOmpbutton turns on/o the loaded Stomp-Box eect ThemOdbutton turns on/o the loaded Modulation eect The delaybutton turns on/o the loaded Delay eect.Double-press one o these buttons to adjust the loaded eect or load a dierent one. Forexample, just press the cOmpbutton two times quickly and youre instantly taken to the

Compressor and Gate editpage. Double-pressing the stOmpbutton will quickly take youto the rst Stomp Box editpage. Double-press the same button again (or press the editbutton) to leave Edit Mode.

20 CAB/A.I.R. - Press the caB/a.i.r. button once to pick a Cab Model to pairwith your amplier, select the microphone used on the cabinet and even set the amount

o room that the mic captures. Unlike the effectOn/Offbuttons, this button is notan on/o type control. A single press o this button simply lets you change cabs and micsquickly. When the Cabinets are o, this buttons light will be o as well.

21 Save - When you want to store your own tweaked-up sounds in your PODxt thisbutton is the key. Exactly how it works is detailed in Chapter 4, Creating & StoringSounds. But youre probably impatient, so here are the basics:

When using a pre-programmed sound, PODxt will display the bank number, channel let-ter and channel name at the top o the display. I you turn one o the knobs or change aparameter in the editmode pages, youll notice an asterisk appears to the let o the banknumber. This is a reminder to you that you have tweaked the memorized channel, andthat you should save it i you want your PODxt to remember the tweak.

To save the changes youve made to a Channel Memory, press the saVe button. The but-ton will start to fash. Just press saVe again i you want to overwrite the currently loadedChannel, using the same name. Or, i youd like to change the name rst, use the middletwo Sot Buttons to select a character, then press the right sot button and turn theeffecttweakknob to change the character. Press the sot button under dest, turn theeffecttweakknob, and you will see that you are switching through memory locations A,B, C, and D in each o the sixteen numbered banks. Pick one to store your sound in, and


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22 Edit - A deep-dive into tone central is available at the press o the editbutton.While editis lit, the selectknob selects pages o everything that makes up a ChannelMemory. From here, you set all the eect parameters, select cabinets and microphones,

and assign a parameter to the effecttweakknob. To learn more about deep editing,please see Chapter 4.

23 Tune/System - Press that puppy and shazam! Instant digital chromatictuner. All Amp Model and eects processing are bypassed so you can hear those ques-tionably-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; allnotes are displayed as fats, so youll see Ab instead o G#. Play that string youre tryingto tune again, spin its tuning key so it goes sharp and fat, and the little ball will move tothe right i its sharp and back down to the let when the notes fat. The little ball willsit right in the middle when youve got itjust right. Give PODxts tune/systembutton apush and the tuner disappears just as switly as it came, taking you right back to normaloperation.

Tuner Bypass/Volume - Normally, the audio will be muted while youre tuning, but iyou preer to hear yoursel tune, press the button labeled Mute, and turn effecttweakcounter-clockwise to select Bypass.

Tuner Reerence - Want a dierent reerence than A=440Hz? When youre in thetuner mode, press the button labeled 440 Hz and turn the effecttweakknob on PODxtwhile watching the display. This control lets you set the reerence requency anywhererom 430-450 Hz. This setting is stored so you dont have to reset it every time you turnon PODxt i you decide you want to be dierent (or i that piano in your rehearsal roomhas decided to be dierent).

24Tap -PODxt allows you to control the time and speed o your eects by simplytapping on this button. To use the tapcontrol, just tap the button at the tempo you

want and the eects that are set to lock to that tempo will change to match what youtapped. Theres also a Tempo parameter near the end o the editpages, so youll see ex-actly what Tempo youve Tapped. This is especially useul i you are trying to nudge yourtapsetting to just the right value. See Chapter 4 to learn how to set up eects to ollowthe tempo that youve tapped.

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210

Podxt Pro

The ollowing controls and connections are ound on the PoDxt Pro only.

25 Input Level - The Normal setting o this switch is appropriate or most guitars.I you see the Clip light 28 coming on, that means youre overloading PODxt Prosinput. I that happens requently, try the Pad setting here. This switches in input cir-cuitry thats appropriate or hotter signals output by some guitars with active pickups, orrom keyboards and other sources. For those non-guitar sources you may also want to trythe rear panel Line Level Input 29 , which is a balanced TRS connection. A separateCLIP indicator shows in the display i you are clipping in the internal DSP.

26I/O & Dig Select - Press this to tell your PODxt Pro what its connected toso it can give you the best sound, and to choose digital audio and other options.

Press it once to select where youre going to connect your input source to the

PODxt Pro, and exactly what you want to come out o the digital outputs.

Press it a second time to tell PODxt Pro whether youre using it inthe studio or live, how you have connected your eects loop andwhat kind o 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 beore you pressed the button.

27 Signal Light - This lights to say, Yep, Im hearing some input. I youve gotsomething eeding audio to your PODxt Pro but you cant hear it and dont see it here,press the i/O & diG selectbutton26 and be sure youve got the right input select-ed. (This light doesnt show input rom USB, by the way.)

28Clip Light - This lights to say, Whoa, Nelly! Thats too much input! (And,again, it doesnt show the status o USB audio.) Reduce the output level o the device

thats eeding your PODxt Pro, or try the Pad setting o the handy inputleVel25 switch. For non-guitar sources, you may instead want to use the...

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29 Line Level Input - Heres a balanced connector or non-guitar sources (orthe line level output o a wireless guitar system). Its also perect or re-ampingeed-ing an already-recorded guitar into PODxt Pro or urther processing. To use it, youll

also need to press the i/O & diG selectbutton26 and select the Line Input. Theront panels Signal light27 shows you when youve got some signal coming, and theclip28 light shows you when youre overdoing it and need to reduce the level youreeeding to PODxt Pro.

30Unprocessed Guitar Out - This connector actually has at least a coupleo potential uses. I youve got a separate rack-mount tuner, you can eed it with thissignal or instance. But the real reason its here is to let you do the kind o ater the actadjustments to your guitar tone that Pro Tools users with our Amp Farm plug-in sotwarehave come to rely on.

The idea is this: you record this unprocessed guitar out signal to your recording system.Then, you play it back through the Line Level Input 29 o your PODxt Pro whenyoure mixing, and you can change amps, eects and every other aspect o your guitar

tone with complete fexibility.

Course, it would be pretty hard to record a good guitar take without hearing the ampand eects sound that you were planning to use, right? I mean, who can solo with a dryguitar signal? The answer is that you dont listen to this unprocessed signal while record-inginstead, you monitor your PODxt Pros let/right processed outputs during the re-cording process. You can even record both the unprocessed guitar out and the processedlet/right outputs at the same time, so youre ready or complete fexibility in later toneadjustments, or you can just stick with what you had. Page 314 has details.

PODxt Pros digital outputs can also send unprocessed signal, i you preer to capturethis signal digitally. You can set them to do this rom the display pages o the i/O & diGselectbutton26.

31 32 Eect Send & Return - The eects loop is designed or line leveldevices, like rackmount eect processors, not or stomp boxes (which you can run hap-pily in ront o your PODxt Pro). Use the let jacks i you want to run the send or returnmono. You can choose to run the loop series or parallel rom the display pages o the i/O& diG selectbutton26. I you have the loop set to series, but nothing plugged intothe loop return, PODxt Pro is smart enough to see this and disable the loop so you stillget sound. See page 312 or more details.

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33 Unbalanced Analog Out - The display pages o the i/O & diG select

button26

congure these outputs or Studio or Live Use. In Studio Mode, theyreready to plug into a recorder with unbalanced 10 dBV inputs. In Live Mode, theydont have speaker simulation, and are ready or connection to an on stage power amp.Whichever you choose, the ront panel Output knob4 determines how much signalyoull get at these jacks. You can use either jack as a mono output, by the way.

34Balanced Analog Out - The i/O & diG selectbutton26 display

pages congure these outputs or Studio or Live Use. In Studio Mode, theyre ready toplug into a recorder with balanced +4 dBu inputs. In Live Mode, theyre ready to sendgreat sounding 10dBV signals to the house sound system or P.A. The ront panel Out-putknob4 does not aect the volume at these jacks in Live Mode. This lets you makeon stage adjustments to your volume without aecting the P.A.s levels.

35Ground - This switch lets you lit the grounds o

PODxtPros XLR BalancedAnalog Outs. This can be handy i you get an audible hum caused by a ground loop

when connecting to other grounded equipment.

36AES/EBU & S/PDIF Inputs & Outputs - These jacks send andreceive digital audio signals. The display pages o the i/O & diG selectbutton26choose which o these connections to use, along with sample rate, word length (bits)

and other details. You can use digital input at the same time as analog output, or analogoutput as the same time as digital input, or any combination. You can even send digitalaudio into PODxt Pro with one rate and word length, and choose a dierent rate andword length or output.

PODxt Pro does not include a separate clock connector, but it can clock to the digitalaudio being received at either o its digital inputs, even i you are using an analog input

to get audio into your PODxt Pro. You can, or instance, connect a digital output romyour digital mixer PODxt Pros S/PDIF input, press the i/O & diG selectbutton26 set the fOrmattomatchspdif, and PODxt Pro will clock to your mixer. PODxt Prowill also ormat the digital audio it outputs to match the incoming ormat. Note: TheFX Loop in the PODxt Pro exists entirely ater all o the digital processing and is in theanalog signal path, directly beore the main outputs. This means that anything run in theloop will not be present in the digital output signal.

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Podxt In the studIo

PoDxt Pro users, ast orward to thePodxtPro Confgurations & Connectionssection

at the end o this chapter.

To use the USB connector, visit www.line6.com to download PoDxt USB Driver Sotware,as well as Line 6 Edit Mac/Windows sotware or GuitarPort (Windows only) sotware.

What are you connecting to?

Your PODxt needs to adjust itsel to deliver the best possible sound depending on whatyoure connecting to. Press the tune/system23 button and turn the select16 knobclockwise until the display asks, What are you connecting to?

Press the Sot Buttonbelow destand turn the effecttweakknob 14 to select studiO:directmode. In this mode, Line 6s exclusive A.I.R. II DSP is active, and you are treatedto a virtual speaker-cabinet-air-microphone experience thats so good you may never usea regular guitar amplier and microphone set up again.

The destsetting you select will be remembered by your PODxt, so you dont have to

re-set it every time you power up. I you change it to a dierent setting or a special situa-tion you come across, dont orget to change it back again to the setting you normally useonce you get back to your standard setup. When you plug your headphones into PODxt,destwill be automatically set to studiO: direct, giving you the best tone or private jam-ming.

The Ins and Outs o Great Tone

I youre hooking yourPODxt

up to a recorder, mixer, or other equipment, be sure youare plugging its outputs into line level inputs on your other gear, as opposed to micro-phone level or guitar level inputs. This will insure that you get the best signal-to-noiseratio (lots o juicy guitar tone, not too much hiss) with PODxt. Some equipment onlygives you a single input or both mic & line level sources, allowing you to trim low levelsignals (like mics) up to a high level at the inputs. I you are plugging your PODxt intoone o these inputs, try setting the trim to minimum, and twisting the Output4and

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channel VOlume 11 knobs up to maximum. I your equipment has a couple o openline-level only inputs, youll probably get better perormance by plugging into these,rather than the wide-ranging mic-to-line level trimmed inputs.

Setting LevelsStart by setting PODxt to the sound you intend to use, strum hard, and set channelVOlume 11 as close to max as you can without getting the CLIP indicator in PODxtsdisplay. Now play with the PODxtOutputknob and any input volume control on yoursystem so you can get the maximum sound level out o your PODxt without going so arthat you overdrive the input on your system and cause unwanted distortion.

TIP: You probably want to have all o your avorite sounds as loud as possible,

while also having the right dierence in volume between your lead and rhythm

sounds, clean and dirty sounds, etc. Right? OK, then, to get this happy balance,

start with your avorite clean sounds. Turn up their Chan Vol as high as you can

without getting the CLIP indicator in PODxts display when you strum hard. and

save them that way. Then switch amongst them to see i some are too loud, and

turn them down a bit to match well with the others. Next, move on to selectyour 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 vol-

ume dierences.

Radiation AlertYoure also likely to nd, especially i you are using a guitar with single coil pickups, thatit is quite easy to pick up some serious noise rom any computer CRT (which stands orcathode ray tube) display you might have in your studio. CRT displays are, ater all, justspecial purpose ray guns that shoot photons at you all day long. Your guitar pickups re-ceive and ampliy the electro-magnetic elds that your display radiates, and you hear this

in your audio signal as buzz and hum. Moving arther rom the CRT, and turning yourguitar so it does not directly ace the computers display, will minimize this problem. Buti you nd yoursel in a tight studio setup, needing to lay down some quick tracks, andbeing pestered by CRT-induced buzz, you may nd it helpul to do as we have sometimesdone: set up your track to record and start your pre-roll; reach up and fick your computermonitors power switch o; record your guitar part; stop your recording, fick the monitorback on, and check out the buzz-ree playback. Flatscreen LCD monitors generally dont

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cause hum and buzz. And just in case youre looking or an excuse to buy one... Line 6Variax guitars are immune to this sort o radiation-induced hum also, since it does notuse traditional magnetic pickups.

Pedal PowerPODxt has several oot control options that make getting great guitar tracks even easier:the Line 6 FBV oot controllers oer a range o unctionality rom basic A, B, C, D chan-nel changes to ull real-time control over almost every parameter in the PODxt. Whilewell go into all the details in a later chapter, its good to know that both allow you toselect PODxt channels, tap in your eect speeds/times/tempos, and kick in the tuner,plus both give you Wah and Volume pedal control. Whichever o these two Line 6 ootcontrollers you choose, it will plug into the PODxt6Pedal jack. Remember that theolder Line 6 Floor Board and FB4 pedals will not work with your PODxt.

MIDI ManiaThose o you with MIDI-capable studios will nd that your PODxt lets you control

everythingvia MIDI. Using MIDI, you can select any PODxt Channel and automate anyPODxt parameter. You are truly lord o your domain. Pretty neat, huh? Read the DeepEditing & MIDI Control chapter i you plan to venture into this realm.

Re-Amping

What is Re-Amping?

For years, creative recording engineers have used what they call re-amping to add awhole other layer o creativity to the recording experience (some would say that its awhole other layer o complexity, but we wont get into that particular argument here).What re-amping consists o, in the old-school way, is using a splitter/direct box to eedthe guitar to both an amp (or monitoring and recording one track) and straight to theboard (or a completely unprocessed dry signal to tape on a second track). This givesthe ability to tweak the guitar tone ater the act. I you get the perect perormance, butdiscover on mixdown that the guitar tone isnt sitting quite right in the track, you donthave to bring the guitarist back into the studio (paying his exorbitant rates) to re-cut thetrack. You simply eed the dry guitar track back out to an amp and dial up a more appro-priate tone.

To do all this used to require the aorementioned splitter/direct box, some sort o imped-ance and level matching box or eeding the signal back to the guitar amp (because the

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signal coming out o the board or direct rom tape doesnt look like a live guitar signal tothe amp, so it wont sound quite like a live guitar when youre done), a box ull o mics,a closet ull o amps, a tangle o cables, and a lot o time to set all that stu up. What a

pain, huh? Well, with the PODxt, youve already got the box ull o mics and the closetull o amps. Weve built the rest into the USB driver (which is, o course, available orree rom the Line 6 website or through the Line 6 Monkey program weve mentioned

earlier in this manual).

Re-Amping via USBOnce youve downloaded and installed the USB driver, whether directly rom the Line

6 website or by letting Line 6 Monkey do all the work or you, youre ready to re-amp.Heres how:

The PODxt Family USB driver (which we will henceorth reer to as the driver to saveour delicate typing ngers, okay?) has our (4) dierent signal routing options, all o

which have their own purpose.

1. Send processed guitar This routing option is the deault setting or normal

recording. As you can see rom the diagram, the guitar goes right to the internalprocessing o the PODxt, the processed signal is sent to the computer (so youcan record it) and the output o the PODxt shows both the processed guitarsignal and the tracks that youre playing on the computer. Pretty straightorward,

isnt it?

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2. Send clean guitar This is the basic re-amping get my dry guitar recorded

setting. The dry guitar input signal is sent to the computer or recording, andalso to the internal processing o the PODxt so you can hear how the guitarsounds through the amp and eects youve dialed up. The tracks youre playingand the processed guitar signal are sent to the output o the PODxt so you canmonitor your perormance.

3. Send clean guitar, re-amp playback This ones a little tricky, but it has its uses.

The dry guitar is sent to the computer and to the internal processing. Thecomputer signal is also sent to the internal processing and only the internallyprocessed signal rom the PODxt is sent to the outputs. This one is useul iyoure trying to double a guitar track youve already recorded (or play a harmony

line or contrapuntal part to that track) or a track that youll also be re-amping.Youll generally be playing only the 1st track and a click reerence unless you likethe sound o the entire band through a raging amplier.

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4. Send Re-amp playback This would be your traditional re-amping set up. The

computer audio is sent to the internal processing o the PODxt, and the pro-cessed signal is ed back to the computer or recording and to the outputs o thePODxt or monitoring.

So how do we put this all together? Heres the basic workfow:

1. Using routing setting 2 - Send Clean Guitar, record the basic guitar track whilemonitoring the whole mix through the PODxts outputs. This should result in arecorded track o crystal clear, unprocessed dry guitar.

2. Using routing setting 4 - Send Re-amp Playback, use your recording program toassign the playback o the track you want to re-amp to the PODxt input and arma new track or recording thats assigned to the PODxt output. When you pressRecord on your sotware, what you should end up with is a new track that has

all the juicy goodness o PODxts amp and eect modeling, while leaving youroriginal dry track alone, so you can do it all over again with yet another round ore-amping.

Obviously, with all these dierent routing options available, there are a lot o otherthings you can do - ar more than we can cover in this manual, as a matter oact. We recommend spending some time experimenting with the other routing

options ater you get the basic process down, and i you come up with somethingreally cool and twisted, let us know.

A ew notes about stu that you may run into:

Latency No doubt about it, computer recording has latency issues. Anytime you send

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a signal in and out o the computer, it takes time, even i it s only a couple o millisec-onds. That new track you record by re-amping will be just a wee bit behind the originaltrack. Do it a ew times and itll start to sound unny. Check your recording sotware or alatency compensation eature. Sometimes its automatic, sometimes you just have to dragthe new drag backwards a couple o ticks to line it up with the original. Unortunately,theres no magic wand or this. Time only moves orward, at least until you drag the trackback.

Latency, part II How your buer size is set on your recording sotware can have anadverse eect on latency. Larger buers equal higher latency, small buers equal moreload on your CPU, which can mean clicks, pops, and dropouts. Every system is dierent,

so youll have to spend some time nding out what the most reliable settings on yoursystem are. We highly recommend NOT having other programs (like email, browser, andespecially games) running in the background while youre recording. Ater all, they dontplay Pong on the board in a pro recording studio.

Imaging It may have stereo outputs, but the PODxts input is mono only. You canteed it a stereo signal (well, you can, but what youll get out is mono). Its important to

remember that when youre assigning tracks to the PODxt or re-amping.

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Podxt Playing Live

pOdxtprOusers, fastforwarDtothepOdxtprO cOnfiGuratiOns &

cOnnectiOnssectionattheenDofthischaPter.

Mount UpI you perorm live, youll probably want to have the PODxt in a handy spot on stage.One o the easiest ways to get it there is with the optional PODxt mic stand/amp topadaptor you can get rom Line 6 its described on the Line 6 web site (where it can

also be purchased). We know this is another shameless plug to get you to buy more gear,but what the heck this really is a handy little item to get the PODxts righteous redaluminum chassis wherever you need it or mid-show tweaking. And that custom PODxtcarry case is simply smashing.... But lets get back to educational stu:

Keeping Your Options OpenWhen youre playing live with PODxt, youve got a choice o setups. You can plug

straight out o thePODxt

s outputs into the house system or awesome tone without thehassle o mics and cabinets and all that other stage setup. You can also choose to runPODxt into a power amp and speaker cabinets, using it as the ultimate preamp. Or, youcan plug your PODxt in between your guitar and a guitar amplier so PODxt acts as atone shaping ront end or the amp. Whichever setup you choose, youre gonna have totell your PODxt about it rst. Read along and well getcha dialed in like a pro.

What are you connecting to?You can supply your PODxt with one o three answers to this question, and therebyensure that your riend on the foor gives you the best possible tones in any setup. Pressthe Tune/System button and turn the Select knob clockwise until the display asks,What are you connecting to?

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W p gg g O a g a , g a gsystems, press the Sot Buttonbelow destand turn the effecttweakknob 14 to selectstudiOdirector amazing amp and eect tone, night ater night. Line 6 exclusive A.I.R.processing serves up a virtual speaker-cabinet-air-microphone experience so good youmay never use a regular guitar amplier and microphone on stage again. Youre as power-ul as the entire P.A.and guaranteed to be in the mix!

cOmBO frOnt, cOmBO pwramp, stack frOnt & stack pwrampChoose one o these modes when youre plugging your PODxt into another guitaramp, or a power amp and guitar speakers. When youre running Amp Modeling in yourPODxt with one o these modes activated, the Mic and Room components o A.I.R.

are turned o, and the Cabinet Models are revoiced to sound their best coming throughthe kind o speaker you choose. The Pwramp variations should be used when yourerunning straight into a poweramp driving speakers, or running into the eect return oan amp so that its own preamp is bypassed and youre getting your PODxts signal rightto the power amp section. Choose a Front variation when youre plugging right intothe ront o a combo amp or head, which will also run you through that amps preampsection. The two Front modes also give you some Tone Correction controls, as shown

here:

The idea o these Tone Correction controls is to adjust PODxts overall sound to

compensate or the tonal response o the preamp section o the amp that youreplugging into. Weve ound that it is oten necessary to reduce the low requency orhigh requency parts o the PODxt to get decent results in this sort o a conguration,or shit the ocus o the mid requencies, so thats what these controls are set to do.Press the Sot Button 18 below lOws or hiGhs and twiddle the effecttweak14 knobto reduce the amount o low or high requencies that the PODxt will send out. UsefOcus to choose which mid requencies to emphasize.

Note: When running PODxt into a guitar amp (as opposed to studio monitors or

headphones) remember that dierent speaker/amp combinations sound wildly

dierent. Consider the name o each destchoice as a recommendation only,

and experiment with all the options to see which sounds best or your particu-

lar setup.

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And last but not least On our lineup o available destchoices is...


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p

boSe pS1Choose this when plugging into a Bose PS1 Cylindrical Radiator loud-speaker system. We specially tuned this mode or great sound rom the innovative newsound system that you can learn more about romwww.bose.com.

PODxt remembers the What are you connected to? settings you choose, so you donthave to re-set them every time you power up. I you change to a dierent setting whenusing a dierent setup, dont orget to change back to your standard setting once you getback to your regular setup.

Getting The Right Tone With An AmpThe rst thing to consider when running PODxt in ront o an amp is what you want toachieve. I you want to use your amp or its tone, with PODxt supplying eects and someextra distortion when needed, then youll generally get the best results turning the ampmodeling o on PODxt, and using a stomp box model when you want to add distortion.The sounds that are pre-programmed in Banks 9-16 are set up this way, to complement

the tone provided by your amp. For this setup, youll want to plug right into your ampsront panel guitar input, and be sure youve made the proper choice ocOmBO frOntor stack frOnton the What are you connecting to? system page (see page 35).

On the other hand, i you want to use PODxts Amp Modeling ability to transorm thebasic tone o your amp to make it sound more like another amp, youll probably wantthe amp modeling on. I youve got an amp with eect send/return jacks, or a power ampinput, we recommend you rst try eeding your PODxts input into them, bypassing your

guitar amps own preamp and its tone contribution. Then be sure youve made the properchoice ocOmBO pwrampor stack pwrampon the What are you connectingto? system page (see page 35). I, instead, youre plugging right into the guitar input onthe ront o your amp, try cOmBO frOntor stack frOntmode on the What areyou connecting to? system page.

Its also important to be realistic about what youre going to achieve here as good as it

is,PODxt

wont be able to make a $100 combo amp with a cheap speaker sound exactlylike the vintage amp o your dreams. When youre plugging into the ront o an amp, itsa good idea to start o with that amp in neutral. What is neutral, you ask? Well, i youonly have one volume control on your amp, set it low enough to get a clean tone; thatensures PODxts sounds come through as purely as possible. I you have a master volumein addition to a volume control on the input, set them both so that the rst volumedoesnt overdrive the master volume (so youre getting a clean tone). This will vary rom

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get a clean, non-distorted sound. I you have passive tone controls, try setting your midcontrol at max, and your treble and bass controls at zero (this is actually fat equaliza-tion-wise on most amps). Active tone controls may vary, but just be sure youre notoverdriving the amp so the PODxt tone comes through without extra coloration. Onceyou get going, you can tweak the amplier settings to suit your tastes. Try to set PODxts

Outputso youre not overdriving the input o the amp.

External Stomp Boxes and PodxtI youve been playing guitar or a while, you probably have some avorite pedals thatyou dig. And even though PODxt has now graced your lie with some pretty hip stompbox and rack eects models, you probably still want to have the option o keeping thoseold pedals in your arsenal. No problem! Just remember that i youre going to use PODxtwith those other eects boxes in ront, theyre going to act dierently based on the AmpModel youve selected on your PODxt. Its just like youd expect dierent combina-tions will produce a veritable east o tone! Some distortion boxes may sound overlyharsh i you max their output volume into your PODxt. Try lowering the distortion boxsvolume, and you can always add more gain with PODxts driVe knob or its own stOmp

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Input & Digital Out OptionsP h i/O & d s b 26 hi d l POD


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FEATURE

FOCUS

Press the i/O & diG selectbutton26 once to see this page and select rom PODxtPros many inputs and several digital options:

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

Press the Sot Button below fOrmatand spin the effecttweak14 knob to choose tooutput any combination o 16, 20 or 24 bits along with 44.1, 48, 88.2 or 96 KHz. PODxtPro will use its internal clock to generate the sample rate you choose.

Or choose matchaesinormatchspdifinrom the fOrmatoptions, to have PODxt Proclock to the sample rate being received, and output data in the same rate/bit ormat.

Clocking to external gear: Whatever youve selected as your input (including analogGuitar In or Line In), you can still pick matchaesinor matchspdifin or fOrmatto havePODxt Pro slave to the clock o your other digital equipment. For instance, eed PODxtPros digital input with an output rom your digital mixer, choose that source or fOrmat,and PODxt Pro slaves to your digital mixers clock and matches its digital audio ormat.Sweet.

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315Press the Sot Button below mOde and spin the effecttweak14 knob to choose nOr-mal(delicious amp-cab-x-mic-room processed sound comes out o the digital outs) ordryGtr(unprocessed guitar comes out o the digital outs). See page 315 or more inoon why this can be cool.

GAIN: Extra gain on the digital outs

Press the Sot Button below Gain and spin the effecttweak14 knob to add up to 12 dbo gain on the digital outs only. This can be used to increase the digital output level osounds that dont have a lot o distortion or other settings that are driving their levels up.

Danger, Will Robinson! Well, not danger, really, but important to know: I you arerecording the dry guitar signal via the digital output and intend to re-amp the signal bydigitally eeding it back to PODxt Pro later, DO NOT add gainleave the signal at

+0dband play the signal back rom your recorder to PODxt Pros digital input withoutan increase or decrease in level. I you dash madly orward and dont ollow this advice,youll be eeding the re-amp signal to PODxt Pro at a dierent level than the signal thatwas used while you were tracking the guitar in the rst place, and the change in inputgain to PODxt Pro will make it impossible to get a clean sound, or will give you a lessgainy sound than you expect. O course, i youre a danger-lover looking or unpredict-able versatility during re-amping, this may be just your thing.... See page 315 or more

on that.

FEATURE

FOCUS

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You can supply your PODxt Pro with one o three answers to this question, and therebyinsure that your trusty tone partner gives you the best possible sound in any setup. Tostart the dialogue, press the i/O & diG selectbutton26 twice to see the display ask,What are you connecting to?

studiO: directWhen plugging PODxt Pro straight into a P.A., or using in-ear monitor-ing systems, press the Sot Buttonbelow destand turn the effecttweakknob 14 toselect studiO: director amazing tone, night ater night. Line 6 exclusive A.I.R. process-ing serves up a virtual speaker-cabinet-air-microphone experience so good you may neveruse a regular guitar amplier and microphone on stage again. Youre as powerul as theentire P.A.and guaranteed to be in the mix!

liVe: cOmBO & liVe: stackThese modes are best when you are running into a power

amp that is driving guitar cabinets. The Mic and Room components o A.I.R. are turnedo, and the Cabinet Models are revoiced to sound their best coming out o the 1/4-inchjacks to eed the kind o speaker you choose. The XLR outputs have additional process-ing to simulate the sound as it will be heard coming out o your speakers, and can be sentto a P.A. or house sound system.

boSe pS1Choose this when plugging into a Bose PS1 Cylindrical Radiator loud-

speaker system. We specially tuned this mode or great sound rom the innovative newsound system that you can learn more about romwww.bose.com. It is important thatyou use only the XLR outputs in this mode, connecting them to the Bose system. (The1/4-inch outputs do not output correct sound in this special mode.)

PODxt Pro remembers the destsetting you choose, so you dont have to re-set everytime you power up. I you change to a dierent setting when using a dierent setup, dontorget to change back to your standard setting once youre back to your regular setup.

FEATURE

FOCUS

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Press the Sot Button below fxlOOpand spin the effecttweak14 knob to chooseseries or parallel operation or the loop.

Setting lOOpto series means that PODxt Pro will send its ull signal out to the eect,and then output the signal that returns rom the eect. I you turn the eect o, or turn

its output level all the way down, you wont hear anything. Use the mix control on theeect unit thats connected to the loop to determine how much eect you hear versushow much o the uneected PODxt Pro sound. Please note that the PODxt Pros eectsloop is entirely analog and is placed directly beore the analog outputs, so anything runin the loop will not be present in the digital out. This is a great way to record wet cab/dry cab, as you can record dry signal rom the digital outs, then use the main outputs torecord the eected signal separately.

I you set lOOpto parallel, PODxt Pro will send a parallel copy o its signal to the loop,while simultaneously sending its signal to its own outputs as usual. Some people preerthis type o setup, because only a small portion o their tone is run through the eect,preventing some eect units rom degrading their overall tone. When running parallel,you should set the mix control on the eect unit thats connected to the loop to 100%wet. Then adjust the balance o eect versus uneected PODxt Pro sound by adjustingthe output volume control o the connected eect unit.

PLEASE NOTE: Many eects can result in compromised sound when run in paral-

lel, because the signal coming back rom the eect unit is out o phase with the

signal that has stayed in the PODxt Pro. This is generally not a problem or delay

or reverb, as long as the external eect is running 100% wet. It is oten a problem

with modulation eects (chorus, phase, fange, etc.), compression, or any other e-

ect that includes some unprocessed sound mixed with processed sound. For these

eects, series is generally the way to go with the eects loop.

You can turn the loop on/o rom a connected FBV oot controller or the loop on/o pa-rameter in the last editdisplays. This on/o state is stored with Channels

podxt manual - version 3 (rev h) - english

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