• Line 6 Pod Xt Live Drivers
• Line 6 Pod Xt Live Software
• Line 6 Pod Xt Drivers
• Line 6 Pod Xt Live Driver Mac Os X
• Line 6 Pod Xt Software

Photo: Mark Ewing

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This updated Line 6 unit combines improved amp modelling, compression, enhanced EQ, and a sizeable repertoire of modelled stomp-box effects.

The stage-ready POD® X3 Live represents the true evolution of the now-classic POD® xt Live guitar amp modeler, with an expanded array of 78 guitar amps, from high-wattage heavyweights to boutique beauties and vintage treasures. (with Amp/Line pad switch) POD X3 Live boasts stereo XLR balanced line outputs for the best possible live signal. An advanced member of Line 6's POD family, the POD XT Pro guitar effects processor delivers 32 groundbreaking amp models built from the award-winning technology found in the Vetta amp. It's also loaded with 22 cab and 4 mic models, 49 stompbox and studio effects, and 36 programmable channels.

Like the guitar PodXT, the Bass PodXT is based on the newer-generation Line 6 Vetta modelling technology, and aims to provide the recording bass player with more accurate amp and speaker emulations, more flexible effects, and a higher technical quality of audio performance. As with the PodXT, there's also a USB port so that the output from the unit can be recorded directly into a sequencer without the need for any other kind of audio interface. At the time of writing, audio and MIDI drivers were available for most flavours of Windows (XP, 2000, ME, 98SE) and Mac OS 9, but the Mac OS X driver currently supports only MIDI, not audio. However, all this may have changed by the time you read this, so check out the Line 6 web site to see the latest situation.

The Bass PodXT has four independent effects sections in addition to compression (five if you count the new six-band EQ), for adding effects such as reverb, delay, sub-octave, auto-wah, synth, chorus/flange, and so on, as well as emulations of a number of classic stage and studio effects boxes. Many of these are the same as those available in the PodXT, and most are derived from algorithms developed for the Line 6 pedal and rack effects processors. For live use, it's also possible to set up a crossover with a choice of frequency and slope between the two outputs, for use with bi-amped systems. An effective noise gate is available, with settings that can be stored separately for each patch.

Control Layout

The Bass PodXT's kidney-shaped case is the same as for its six-string counterpart, except for its dark-grey colour and the control legending, which reflects the different types of EQ and processing required by bass instruments. Presence has gone, and in its place are separate Lo Mid and Hi Mid controls to augment the more familiar Bass and Treble. Similarly, the knob that controlled reverb on the PodXT now accesses compression, which is always available.

Selected Bass PodXT Modelled Effects

• 'Analogue Chorus' — Boss CE1 chorus.
• 'Analogue Delay' — Boss DM2 delay.
• 'Analogue w/Mod' — Electro-Harmonix Memory Man.
• 'Auto Wah' — Mutron III
• 'Blue Comp' — Boss CS1 compressor.
• 'Classic Distortion' — Proco RAT.
• 'Facial Fuzz' — Arbiter Fuzz Face.
• 'Fuzz PI' — Electro-Harmonix Big Muff Pi.
• 'Jet Flanger' — A/DA Flanger.
• 'Lux Spring' — Fender Deluxe dual spring.
• 'Multi-Head' — Roland RE101 Space Echo.
• 'Octave Fuzz' — Tychobrahe Octavia.
• 'Phaser' — MXR Phase 90.
• 'Red Comp' — MXR Dynacomp.
• 'Rotary Drum' — Leslie Vibratone.
• 'Screamer' — Ibanez Tube Screamer.
• 'Standard Spring' — Fender Twin triple spring.
• 'Tube Echo' — Echoplex.
• 'U-Vibe' — Uni-Vibe.

The control panel comprises eight rotary potentiometer controls plus four rotary encoders and 13 buttons. Like the guitar version, there's one high-impedance mono input jack plus two outputs, on balanced jacks, but rather than the output being stereo, it is configured as one mono modelled output and one straight mono DI output (phase-aligned with the modelled output). There's also the bi-amped mode that routes low frequencies to the DI output and high frequencies to the modelled output. A backlit, custom LCD window shows patch names, parameter settings, and the positions of any virtual controls while editing — a great improvement over the original Pod.

MIDI In and Out connectors are located on the rear edge of the unit, along with the USB port and the power supply's input socket. There's also a Pedal foot-control connection that uses an Ethernet-style cable to connect to one of the compatible Line 6 Floorboard units. This is particularly useful in live performance, and it's the only way to access the internal wah-wah pedal simulation, unless you happen to have a suitable MIDI pedal. A powerful phones output is available for practice.

Although the main EQ is slightly different to the guitar version, the Drive, Channel Volume and master Output controls are the same. The six-band semi-parametric EQ is available for use at the same time as the regular 'amp' EQ, while the inclusion of a dedicated compressor is also a good move, as compression is far more relevant to the bass guitar than reverb. This is based on the same LA2A compressor model used in the Bass Pod and PodXT, though other stomp box-style compressors are also available in the general effects section. A level-compensation system is used, so that the overall level stays nominally constant when the compression control is adjusted.

The Centre Section

Other than the overall compression, all effects are controlled and edited from the centre section. In Play mode, the Select knob can be used to call up patches, while the Effects knob runs through a menu of effects or combinations of effects. There are 64 ready-made effect settings, all of which may be modified or overwritten. Each of the 28 amp models loads up with its own default speaker cabinet and control settings, though this 'default' can be customised by the user if required. The 22 available cabinet emulations range from a single 12-, 15- or 18-inch speaker to massive 4x15-inch and 8x10-inch models, with a further setting for no model.

As with the PodXT, one of the setup modes is entitled 'What are you connecting to?', and there is a choice of Studio/Direct (AIR room simulation active, along with all the amp and speaker modelling), Live with no horn speaker, or Live with a horn (PA or other full-range system). If the bi-amp mode is selected, the crossover frequency and slope may be set by the user.

Five buttons access the independent EQ (an additional six-band, semi-parametric with variable gain and frequency for each band), Stomp, Mod, Delay/Verb and Cab/AIR, the last allowing the user to choose between speaker cabinet models and the way they are 'miked' — there's a choice of two modelled dynamic mics plus two modelled capacitor mics at different distances, the latter based on the characteristics of the 'Tube 47'. The Save, Edit, Tap and Tuner buttons are pretty self-explanatory, while in Edit mode the four buttons below the display allow the direct selection of one of four on-screen parameters before adjusting it with the Effect Tweak knob.

In Play mode, the same four buttons select between patches in the current bank, while the Effect Tweak knob changes the main parameter of the effect. Tap controls not only delay speeds but also LFO rates where appropriate and, like the PodXT, the tuner has a clear on-screen display and good resolution.

Bass PodXT Pro

The Bass PodXT Pro offers the same amp/cab modelling and effects facilities as the basic Bass PodXT, but comes in a 2U rackmount format with mains powering and more professional connectivity options. There are switchable Bass, Line, S/PDIF, and AES-EBU inputs, and the latter will support sample rates of 44.1kHz, 48kHz, 88.2kHz and 96kHz at up to 24-bit resolution. Although there's no dedicated word-clock input, you can elect to have the unit sync to either the incoming AES-EBU or S/PDIF clock regardless of which input source is chosen for the signal. Analogue outputs are provided on both quarter-inch jacks and balanced XLRs (selectable between -10dBV and +4dBu). The digital outs may be set to carry either the straight DI or the modelled signal.

A number of digital and analogue routing options are available that are not present on the basic model. There are effects sends and returns on individual jacks (for both modelled and DI'd outputs) and both serial and parallel effect modes are supported, meaning that you can treat the effects sockets either like an effects loop or like an insert point.

The main changes on the front panel are that Clip and Signal LEDs are fitted, there's a dedicated button for selecting the input source, and there's a slide switch for selecting between normal and high-output bass pickups. As with the guitar versions, there's no real quality difference between the XT and XT Pro models, so what you're mainly paying for is the rack format, freedom from external PSUs, and the extra analogue and digital connectivity.

Memory Matters

Patches are organised into 16 banks of four patches, with a further 64 memories available to store the effect settings. Both come filled with factory examples, which can be overwritten or simply tweaked as desired. The dedicated effects buttons light up when active, and double-clicking on any of them gets you straight to the relevant effect editing page. When the amp level and tone knobs are being adjusted, representations of the six control knobs in the display show both their current and stored settings, where the stored setting is depicted by a dot on the circumference of the knob. Virtual knobs also appear when you edit the effects. Specific effect modulation rates and delay times can be linked to tempo by note value, where tempo is set using the Tap button. Amp models are called up directly from a dedicated rotary encoder, while effects presets can be called up via the Effects encoder knob.

All the effects have basic stomp box-style controls, usually occupying just one or two display pages. A new addition to the Stomp section (compared to that of the PodXT) is a choice of synth algorithms that include pitch-tracking and pitch-shifting, along with a choice of wave shapes and even ring modulation for creating synth-like sounds. A number of filter effects are available in the Mod section, so these can be used with or without the synth. Useful additions include rotary speaker, sample-and-hold filtering, and speaker-crushing sub-octave generation.

Using The Bass PodXT

The Bass PodXT is just as gloriously simple to use as the PodXT, though I found many of the presets to be rather 'over the top'. Perhaps the best way to regard them is as demos of the extremes to which this unit can be pushed, rather than as a library of patches every bass player will want to use. The Stomp effects are largely first-class, though the synth sounds have to be used with care and only work when you play clean, monophonic lines. Some of the synthetic sounds are really rather effective, but their tendency to yodel and warble on sustained notes means you have to take great care over how you use this section.

Photo: Mark EwingPhoto: Mark EwingThe outputs are electrically quiet and the algorithms are nicely responsive to playing intensity. The rest of the effects/processing section is also excellent, and there's no restriction on the way the effects sections can be combined (though you can't have reverb and delay together, as these are both options within the Delay/Verb section menu), with compression and six-band EQ always available.

I checked the USB audio connection under Mac OS 9 using my G4 and found that it worked perfectly, the only frustration being that (using Logic at least) the outputs from your audio software also have to go via the Pod when recording, so it's best to turn down the master analogue level control on the PodXT otherwise you hear the direct Pod sound plus the slightly delayed version (due to driver latency) at the output, which sounds a little odd. The latency is actually low enough to ignore for all practical purposes, and I was very pleasantly surprised at how good my mixes sounded playing back through the PodXT's converters. If only the thing had a mic input, you'd be able to do without a soundcard altogether! One point you need to watch is that the digital output from the Pod is usually well below full scale, even with the Amp Channel Volume control turned up full, so I found I had to normalise after recording. This didn't seem to cause any quality problems, however.

Deeper Underground

As with most Line 6 products, there's more depth of editability than you might initially expect, such as a user-variable crossover frequency on the relevant modulation effects, but if you're after instant gratification then you won't be disappointed. Although even the best guitar modelling devices sometimes fall short of capturing the quality and presence of a real miked amplifier, getting a good bass guitar sound has always been such a pain in the proverbials that devices such as the Bass PodXT usually sound significantly better than the real thing in the majority of project studio situations, and the results can rival what you hear on the best-produced records. You don't have to worry about miking an amp or finding a speaker that doesn't rattle, and there are no spill or noise problems.

Line 6 Pod Xt Live Drivers

The digital audio I/O is a handy and easy-to-use feature and I'm hoping OS X support and full MIDI support for all platforms will come sooner rather than later. Editing software is also available on the Line 6 web site, though the front panel is so easy to navigate that I don't think many users will bother with it. The technical sound quality is certainly cleaner than that of the original Bass Pod (reviewed back in SOS November 2000), the dynamic response is superior, and the amp models are that bit more believable. The effects section organisation is a great improvement (even though it's serious overkill for most conventional bass playing), and for live use the addition of the bi-amped mode and compatibility with the Floorboard controller should eliminate the need for any further pedals, processors or crossovers. Most of the effects work just as you'd expect, but it's probably fair to say that you have to meet the synth patches half way.

Studio users may prefer the Pro version, with its rackmount format and expanded connectivity options, though I couldn't detect any subjective difference between the sound of the two versions. If you just need a straight bass sound and you already have a PodXT, then you can easily set up a number of equally plausible bass amps using that alone. If, however, you want to explore more sophisticated or experimental bass sounds, the Bass PodXT is most definitely the box to do it with.

Test Spec

Pros

• Wide-ranging effects section.
• Brilliant user interface.
• Lots of classic bass amp and speaker models.
• Pro model has improved routing and connectivity options.
• Built-in USB audio interface.

Cons

• Mac OS X USB audio drivers not available at time of review.
• Synth simulations tend to mistrack, causing pitch wavering.

Summary

You can certainly coax a huge range of bass sounds from this unit, from clean and punchy to The Who Live At Leeds. There are more effects than most bass players will need, but it's good to know they are there if you want them.

Line 6 Bass PodXT £339

pros

• Wide-ranging effects section.
• Brilliant user interface.
• Lots of classic bass amp and speaker models.
• Pro model has improved routing and connectivity options.
• Built-in USB audio interface.

cons

• Mac OS X USB audio drivers not available at time of review.
• Synth simulations tend to mistrack, causing pitch wavering.

summary

You can certainly coax a huge range of bass sounds from this unit, from clean and punchy to The Who Live At Leeds. There are more effects than most bass players will need, but it's good to know they are there if you want them.

Bass PodXT, £339; Bass PodXT Pro, £499. Prices include VAT.

Line 6 Europe +44 (0)1788 821600.

+44 (0)1788 821601.

• Signal Processors >Effects

Photo: Mark Ewing

Line 6 give their PodXT the Pro treatment, adding comprehensive I/O and flexible output configurations to their successful modelling processor.

PodXT Pro offers the same amp/cab modelling and effects facilities as the standard PodXT model, but adds more professional connectivity options. The user can now select from guitar, line, S/PDIF, or AES/EBU inputs (there are two channels in the digital format which mix to mono if both are used together), the additional options being useful for re-amping an existing recording or for processing the output of a synthesizer. Supported sample rates are 44.1kHz, 48kHz, 88.2kHz and 96kHz and the resolution may be either 16, 20 or 24-bit. As with the XT, there's also a USB port for connection to a computer, enabling recordings to be made without the need for a soundcard.

Outputs are provided as unbalanced analogue outs on quarter-inch jacks, balanced XLRs (selectable between -10dBV and +4dBu), S/PDIF phonos and AES/EBU XLRs. A further jack carries the unprocessed guitar output signal (useful both on stage and in the studio where the PodXT Pro is being used in conjunction with another guitar processor or amplifier), plus there are stereo effects sends and returns on individual jacks. That leaves the Ethernet-style floor controller connector plus the USB port which, in addition to its audio transfer capabilities, may also be used for editing and patch transfer via a Mac or PC, or for accessing Line 6's on-line subscription services (PC only) normally accessed via the company's Guitar Port. When used with the on-line guitar tutorials, patch data is loaded directly into the unit, as opposed to the Guitar Port where the computer powers the amp modelling. The same software that works with the Guitar Port also now serves as an on-screen editor for the PodXT and PodXT Pro. MIDI In and Out/Thru connectors are fitted to the rear panel, and power comes directly from the mains.

The DSP engine utilises amp and cabinet modelling algorithms developed for Line 6's latest Vetta modelling amplifiers and combines these with a number of effects, many taken from their Modeler range. The PodXT Pro also benefits from the much-improved user interface of the PodXT, whereby on-screen 'virtual' knobs show both the stored data positions and the physical position of the front-panel knobs. The majority of the controls are identical to those on the PodXT reviewed back in SOS January 2003.

Clip and Signal LEDs are fitted, which aren't on the PodXT, and there's also a further button for selecting the I/O options. A slide switch selects between normal and high-output guitar pickups. Optional floor control is available by connecting a Line 6 FBV floor unit such as a Shortboard — important if you need to operate the internal (and rather good) wah-wah effect in real time. The PodXT Pro has the same Bass, Middle, Treble and Presence controls as many 'real' guitar amplifiers, plus Drive, Channel Volume and a master Output control. A dedicated knob controls the reverb intensity, and there's also a dedicated compressor based on the classic LA2A.

Patches are organised as 16 banks of four patches, and all can be overwritten. A further 64 memories are available for effects settings, and 64 factory effect settings are loaded up including both single effects and combinations. The four buttons that access the compressor/gate, stomp box, modulation and delay sections are to the immediate left of the Cab/Air button, which is used to choose from a repertoire of modelled speaker cabs, mic types and mic positions. The AIR (Acoustically Integrated Recording) facility models the effect of the room acoustics on the sound, and is fully variable. The virtual mic section offers the choice of two dynamic mics on axis, a dynamic mic off axis, or a capacitor mic on-axis. Tap may be used to tap in delay effect or modulation timings and, when a floor controller is connected, there's also a footswitch for this purpose.

The integral tuner is the same as on the PodXT, which is to say that it is more accurate than the one on the original Pod. Each of the 32 amp models loads up with suitable default speaker cabinet and control settings, but you can customise these so that every time you select your favourite amp model as the basis for a new patch, it automatically loads with your favourite speaker cab and EQ/drive settings. A page within the software configures the outputs for use with a power amp and guitar cabs, with a guitar amp and speaker, or when DI'ing or recording. A Live mode allows the jack outs to bypass the AIR function while AIR processing is still being applied to the balanced XLR and digital outs — a good choice where the jack outs feed a stage amplifier, as the Output level control affects only the unbalanced jack outputs. In Studio mode, AIR affects all outputs, and the Output level control affects both jack and XLR analogue outs.

Photo: Mark Ewing

Sound Editing

The Edit mode is entered via the Edit button, though double-clicking any one of the four effects buttons or the Cab/Air button gets you directly to the edit pages for that specific section. These effects buttons light up when their associated effect is active, so you can use them to toggle effects on and off while you're playing. When the amp settings are being adjusted, the display automatically shows icons for the six control knobs, with both their physical and stored settings indicated.

The volume pedal, which is part of the Shortboard's armoury, as well as the delay and modulation blocks may be inserted either before or after the amp-modelling stage. All the effects employ fairly basic, stomp box-type controls, so there are only usually three or four parameter knobs to tweak. Even so, the reverb is much better than on the original Pod, and offers a comprehensive choice of room/hall/spring types, as well as variable decay time and reverb mix.

USB Functions

Via their USB sockets, both the PodXT and PodXT Pro can now be used to access the Line 6 on-line subscription services previously only available to the company's Guitar Port PC USB audio interface, as both include the necessary security keys which make this possible. The main difference is that, while Guitar Port uses slightly simpler amp emulation software running on the host computer, the PodXT models use their own hardware. The Guitar Port's software interface can also function as a graphical front end for PodXT and PodXT Pro, although Mac users (who can't use the on-line services) have to download a free stand-alone editor from the Line 6 web site instead.

There are also PC USB audio/MIDI drivers for download which let you control the PodXT or PodXT Pro directly via USB from your PC with MIDI messages, as well as letting you record audio into your computer, without the need for a separate MIDI or audio interface. However the Mac drivers are less developed: the Mac OS 9 driver currently only supports audio recording, and the OS X driver currently only supports MIDI control.

Appraisal

Despite the PodXT Pro's slightly higher UK cost, I didn't detect any noticeable difference in sound quality — what you pay for is the nicely presented rack hardware, mains powering and a professional set of both analogue and digital I/O connections. Both the touch responsiveness and the quality of the cleaner amp models is very significantly improved over those in the original Pod, and there is no noticeable circuit noise.

The in-built USB audio interface is useful for recording and for using the editing software, and although the Mac support situation is less comprehensive, it seems to be improving all the time. I still think the PodXT Pro and, of course, the original PodXT are currently the most effective guitar-modelling products of their type, and the extended I/O capability of the Pro version could make life easier both in the studio and on stage.

Flextone III Amplifier

Photo: Mark EwingThe new Line 6 Flextone III is also worth a mention here, as it has a preamp system based closely on that of the PodXT, though with a simplified control system, a limit of four user patches (unless one of the optional Line 6 foot controllers is used) and some interesting new amp models not available from the PodXT or PodXT Pro. Available in both 1x12 and 2x12 configurations, the Flextone III includes a stereo power amp section (with 50 Watts per channel), so that even the single-speaker model can be used with an extension cabinet to provide stereo operation. There's also a stereo pair of balanced XLR outs (with level trim and ground-lift switch) that make use of Line 6's cabinet modelling and AIR function for feeding a PA system or for recording.

A rotary switch selects from 32 onboard amp models, while pressing and turning the switch selects from 16 cabinet models. The main controls are essentially the same as on the PodXT and PodXT Pro, but the four patch selection buttons also work as patch storing buttons when held. If an optional Line 6 foot controller is connected, up to 32 patches can be named and saved, the internal wah-wah effect can be controlled with a pedal, and a tuner is available via the display on the floor controller. If none of the four patch buttons are lit, the amp goes into manual mode, where the physical knob settings correspond to the amp's settings.

Dedicated knobs set the reverb, delay and modulation effect levels, and either the delay or modulation knobs can be used in conjunction with the Gate and Comp buttons for adjusting the integral gate and compressor thresholds. The familiar Tap Tempo button sets modulation or delay rates according to the rate at which the button is tapped. There are six delay types and six modulation effects, but the overdrive and other stomp box-style effects from the PodXT are absent.

As a guitar combo for live or studio work, the Flextone III comes across as loud and assertive, and it DI's much like a PodXT. I particularly like the new Class-A model based on the British Cornford amplifier, and there are also more variations on the Marshall-inspired model. The 1x12 version loses out on the stereo capability of the effects unless an extra speaker cab is used, but that doesn't affect its DI recording capabilities.

Pros

• All the same great features as the PodXT, including an excellent effects section.
• Excellent user interface.
• All the professional digital and analogue I/O you could wish for.
• Works with the Guitar Port software for patch editing and for accessing Line 6 on-line subscription services.
• USB audio recording and MIDI control features.

Cons

Line 6 Pod Xt Live Software

• Mac USB support not as advanced as for Windows PCs.

Line 6 Pod Xt Drivers

Summary

Although the PodXT Pro is sonically identical to the PodXT, it has far more comprehensive I/O capability.

Line 6 Pod Xt Live Driver Mac Os X

information

Line 6 Pod Xt Software

PodXT Pro, £519; FBV Shortboard foot controller, £249; SBV foot controller, £359; EX1 expression pedal, £49. Prices include VAT.

Line 6 Europe +44 (0)1788 821600.