Line 6 bass pod xt инструкция

Electrophonic Limited Edition available at www.line6.com. Revision C.

AMP MODELS

CABINET MODELS

EFFECT MODELS

All amp, cab and effect product names are trademarks of their respective owners, which are in no way associated or affiliated with Line 6. These product names and descriptions are provided for the sole purpose of identifying the specific products that were studied during Line 6’s sound model development.

FBV SERIES REFERENCE

SIGNAL FLOW & EFFECTS ROUTING OPTIONS

CAUTION: This equipment has been tested and found to comply with the limits for a Class B digital device pursuant to Part 15 of FCC Rules. Operation is subject to the following two conditions: (1) This device may not cause harmful interference, and (2) this device must accept any interference received, including interference that may cause undesired operation.

Bass PODXT Pilot’s Handbook © 2003, Line 6, Inc.

Please Note:

Line 6, Vetta, Amp Farm, POD, Bass POD, PODxt, Bass PODxt, PODxt Pro and Bass PODxt Pro are trademarks of Line 6, Inc. All other product names, trademarks, and artists’ names are the property of their respective owners, which are in no way associated or affiliated with Line 6. Product names, images, and artists’ names are used solely to identify the products whose tones and sounds were studied during Line 6’s sound model development for this product. The use of these products, trademarks, images, and artists’ names does not imply any cooperation or endorsement.

QUICK START GUIDE • “Manual? I don’t need no stinking manual!”

or:

“MANUAL? I DON’T NEED NO STINKING MANUAL!”

Bass PODxt Pro owners, if you’re going to use anything beyond the standard bass input and analog outputs, we can’t cover all your options on this brief page. See Chapter 2 to learn about controls, and then get deep with the inputs and outputs in the Bass PODxt Pro — Configurations & Connections section that starts on page 3•9.

1.Turn the OUTPUT LEVEL control all the way down to zero.

2.Connect D.I. and MODEL outputs to your recorder or mixer’s inputs, or plug the MODEL output into your bass amp’s input. Or connect headphones to the PHONES jack for silent jamming.

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

4.Connect a bass to Bass PODxt’s INPUT (Bass PODxt’s Pro BASS IN).

5.Flip the POWER switch to fire up.

6.Bass PODxt comes ready to rock for direct connection to your recording setup. If you’re connecting to a bass amp, it’s essential to let your Bass PODxt know so it gives you the best tone. Do this by pressing TUNE/ SYSTEM, then turning the SELECT knob one step clockwise. Press the button below DEST (Destination), then turn the EFFECT TWEAK knob to tell your Bass PODxt what type of amp you’re connecting to. Bass PODxt will automatically override this setting when you plug in headphones, so great headphone sound is automatic.

7.Select an Amp Model using the AMP MODEL knob. Set the CHAN VOL to max and the DRIVE, BASS, LO MID, HI MID and TREBLE to your heart’s desire. OUTPUT sets the, uh, output level.

8.Turn the EFFECTS knob to load an Effects Setup, then twist the COMPRESS and EFFECT TWEAK knobs so you’re happy with the sound. The TAP tempo button can set the speed for Delay or Mod effects.

9.Browse pre-programmed tones using the SELECT knob or by pressing any of the four buttons below the display. You can press any one of those buttons twice for a “Manual Override” that gives you where-the-knobs- are-is-how-it-sounds operation.

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

QUICK START GUIDE • Register now!

1 • 2 Register now!

Included in this manual is a handy, postage-paid card for you to send back to us to register your purchase. It’s very important that you fill that registration card out right now and drop it in the mail or jump on the Internet and register at the Line 6 Support Center — www.line6.com. Registering insures that you’re dialed in for warranty service (warranty info is at the end of this manual) and insures we can contact you if new software versions or other cool enhancements are offered — cutting edge technology and such.

Get on-line and get good free stuff!

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

Connect to www.line6.com and download free USB driver software free for your Bass PODxt. Learn tips & tricks, trade advice, generally hang out and get POD-a- licious in our online forums. Use FAQTRAQ to contact our product support experts and get answers to your technical questions. Or grab electronic versions of this book and other documentation, learn what your favorite artists are doing with Line 6 gear, and see the latest products we’re introducing for you.

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

Welcome To Bass PODxt…

Thank you for inviting Bass PODxt into your life. Whether you use your Bass PODxt as a direct recording miracle, a powerhouse preamp, a practice partner, or as a creative digital signal processing tool (and heck, why should it be just one of these?) — we think you’ll agree that Bass PODxt is about the most amazing thing to happen to the bass guitar since, well, since the bass amplifier itself! Bass PODxt delivers the incredible tones of the acclaimed Line 6 Point-to-Point Interactive modeling technology and fuses it with the wonderfully portable and easy to use POD’s, which has been the recording and live sound choice for savvy guitarists and bassists for years. So you’ve got the tonal heritage of the past century of bass amplifier and stomp box design, plus nocompromise recording and direct sound excellence — all ready to roll when you are.

Who is Line 6?

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

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

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

QUICK START GUIDE • Introduction

QUICK START GUIDE • Introduction

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

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

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

There’s Magic in the A.I.R.

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

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

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

•The effect of the bass amplifier circuit is emulated by the Amp Model you choose. Each model was developed from extensive study of a classic amplifier treasured as a tone classic, or is a Line 6 original inspired our knowledge of these classics.

•In a bass amp, once the bass signal passes through the electronics, it is output to one or more speakers in a speaker cabinet. The specific design of the speakers, how many there are, and how they are arranged contributes significantly to your bass tone, as does the construction and resulting tone of the wood box itself. An

QUICK START GUIDE • Introduction

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

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

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

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

QUICK START GUIDE • And Away We Go….

And Away We Go….

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

Controls & Connections

CONTROLS & CONNECTIONS

Now would be a good time to turn to the nifty back cover of this manual and notice

that it folds out. Ooh, pretty pictures! The idea is to have this essential pictorial 2• 1 reference always opened out while you’re thumbing through the manual. It’s also got all

the essential details for quickly getting around on your Bass PODxt. The boxed numbers that pop up throughout this manual correspond to the numbers on the foldout’s illustrations. The back side of the cover’s got handy pictures for the FBV and FBV Shortboard foot controllers, plus signal flow and connection guides.

1 Power Switch — Flip this to bring your Bass PODxt to life. Bass PODxt Pro includes a standard IEC grounded power cable. For Bass PODxt, use only the included PX-2 power pack.

2 Input/Bass In — Plug your bass in here. (You techies will want to know this is a mono, un-balanced connection).

3 Phones — Plug your headphones in here for silent concertos. The volume is set by the OUTPUT knob. Any time you use headphones, it important to be sure they’re not set for ridiculous volume before your slap them on your ears. Try an OUTPUT knob setting of about 10 o’clock when first putting the headphones on, them turn up from there if you need more volume.

So that you hear appropriate sound through the headphones, Bass PODxt automatically switches to Studio Mode whenever headphones are connected (for more on Studio Mode, see “What are you connecting to?” on page 3•2).

Controls & Connections

4 Output — This controls the overall output level of Bass PODxt and also sets the

Controls & Connections

8 MIDI In & Out — Connect Bass PODxt to your MIDI equipment to select Channel Memories (via Program Change messages), or automate Bass PODxt settings (via controllers and/or SySex). You can also back up Bass PODxt’s memory to your

computer by using free software—check www.line6.com for details. The Bass PODxt

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MIDI OUT connects to another device’s MIDI IN; its MIDI IN goes to another device’s MIDI OUT. Please also see Chapter 7, Deep Editing and MIDI Control, to setup your MIDI gear with Bass PODxt and find out what MIDI can do for Bass PODxt and you.

9 Drive — This knob controls how hard you’re driving the input of the chosen Amp Model. Like the input volume control on a non-master volume bass amp, higher settings give you more “dirt.”

10 Tone Controls — BASS, LO MID, HI MID, TREBLE. Just like any bass amp, only when you change Amp Models, the response and interactivity of the controls changes, too — so they act like the tone controls of the original amp that inspired the Amp Model you’ve selected.

11 Chan Vol — This knob controls the relative volume level of the “channel” you are playing through — thus, CHANNEL VOLUME. Use this to balance levels between the sounds you store in two different Bass PODxt Channel Memories (say between your clean and distorted tones). In general, you want to set the CHAN VOL as high as possible to get the best signal-to-noise ratio performance — but back off on this control if you’re seeing CLIP in Bass PODxt’s display. Here’s an important tip:

TIP:You probably want to have all of your favorite sounds as loud as possible, while also having the right difference in volume between your standard and lead sounds, clean and dirty sounds, etc. Right? OK, then, to get this happy balance, start with your favorite ‘clean’ sounds.Turn up their Chan Vol as high as you can without getting the CLIP indicator in Bass PODxt’s display when you play hard and save them that way.Then switch amongst them to see if some are too loud, and turn them down a bit to match well with the others. Next, its time to move on to select your ‘dirtier’ distorted 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 Bass PODxt, you just have to

Controls & Connections

set an Output volume level you like, and you can switch amongst your various sounds without unhappy volume differences.

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12 Compress — Bass PODxt’s include a model based on of the LA-2A classic tube studio compressor. Turn this knob to get more or less compression. Higher settings will smooth out the volume differences between notes that you play harder and ones that you play more lightly. Lower settings will leave your playing dynamics unaltered. Compressors work by reducing the volume of the louder notes feeding into them, so that those sounds are at a level closer to the quieter notes. Bringing down the loud notes this way would tend to give you a lower overall volume if it weren’t for the automatic gain compensation that’s also built into Bass PODxt’s compressor. Thanks to this feature, your overall average output volume will actually remain consistent as you dial in more compression.

13 Effects — This knob selects from Bass PODxt’s Effect Setups — which set up a combination of effects for you (all the details on effects are in Chapter 6, Stompboxes & Effects). Think of each Effect Setup as a virtual pedal board or outboard gear rack that you can match with any Amp Model. When you turn the EFFECTS knob, Bass PODxt shows the name of the Effect Setup that is loaded and you’ll hear the effects change instantly. The effect buttons light to show which effects are on. There are 64 of these effect “rigs” pre-programmed and ready for you to use.

14 Effect Tweak — This knob varies some aspect of the effect you’ve chosen. Turn it up and the effect will generally go deeper, louder, faster, longer or just plain more. You’ll know what you’re tweakin’ because a window will pop up on Bass PODxt’s display to show you. The TAP button usually sets Delay time. For the inside scoop, including how you can customize the EFFECT TWEAK knob, see Chapter 4, Creating & Storing Sounds. If the effect that EFFECT TWEAK is “targeting” is off, then, big surprise, EFFECT TWEAK won’t change anything. While the EDIT or TUNE/SYSTEM button is lit, the EFFECT TWEAK knob adjusts parameter values instead.

15 Amp Models — When you spin this knob, it’s essentially like changing what electronic “circuitry” is running inside Bass PODxt to make your amp sound. (See the groovy details in Chapter 5, Modeled Amps and Cabs.) You’ll see the Amp Model names change in Bass PODxt’s display. When you choose an Amp Model, Cabinet and

Controls & Connections

Microphone Models are also loaded automatically. For instance, when you choose the Tweed B-Man model an appropriate Cabinet Model will be loaded with it. You can also choose a different cabinet/mic setup by pressing the CAB/A.I.R. button (below).

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In fact, Amp Models automatically load with all the amp-related settings pre-set for a ready to go tone. Drive, Bass, Lo Mid, Hi Mid, Treble, Cab/A.I.R., etc. will all be determined by the Amp Model you choose — giving you a ready-to-rock sound with the turn of just this one knob. Once you get familiar with Bass PODxt, you can change these amp-associated defaults to customize the settings of each of the Amp Models to fit your tastes. Note that when you’re in Manual Mode, Drive, Bass, Lo Mid, Mi Mid, Treble, Channel Volume and Compress are set by the physical knob positions instead of being automatically set with the amp selection. Complete details are in Chapter 5.

16 Select — The Bass PODxt has 64 Channel Memories that store a huge variety of complete amp-and-effect selections pre-programmed by the tone mavens at Line 6. They are arranged in 16 banks of four channels each. (The four are called A, B, C, and D.) You can think of each bank as a sort of virtual four-channel bass amp — and you’ll find that the same layout is used on the optional Line 6 foot controllers for Bass PODxt (the FBV and FBV Shortboard) which are discussed later in Chapter 8.

You load Bass PODxt channels by turning the SELECT knob. You can press one of the four “soft buttons” under the display to load one of the other channels of the current bank. When recalling a channel, you may have left the physical BASS knob at minimum, whereas the just-recalled channel has this control set to max. To change BASS (or anything else), just grab the knob you want and tweak. To leave the Channel Memory world and enter Manual operation, press any of the buttons under Bass PODxt’s display twice. The display will read Manual Mode to let you know you’ve got WYSIWYG (what-you-see-is-what-you-get) operation, and all the physical knob positions are being used to determine your sound. More on all this later.

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

Controls & Connections

17 Display — Bass PODxt’s LCD (liquid crystal display) is your window into every

19 Effect On/Off Buttons — These four buttons allow you to quickly turn any of the four effects on or off (the effects are on when the buttons are lit).

•The EQ button turns on/off the 6-Band Semi-Parametric EQ

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

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

•The DELAY/VERB button turns on/off the loaded Delay or Reverb effect.

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

Controls & Connections

20 CAB/A.I.R. — Press the CAB/A.I.R. button once to pick a Cab Model to pair with your amplifier, select the microphone used on the cabinet and even set the amount of “room” that the mic captures. Unlike the EFFECT ON/OFF buttons, this

button is not an on/off type control. A single press of this button simply lets you change

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cabs and mics quickly. When the Cabinets are off, this button’s light will be off as well.

21 Save — When you want to store your own tweaked-up sounds in your Bass PODxt, this button is the key. Exactly how it works is detailed in Chapter 4, Creating & Storing Sounds. But you’re probably impatient, so here are the basics:

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

To save the changes you’ve made to a Channel Memory, press the SAVE button. The button will start to flash. Just press SAVE again if you want to overwrite the currently loaded Channel, using the same name. Or, if you’d like to change the name first, use the middle two Soft Buttons to select a character, then press the right soft button and turn the EFFECT TWEAK knob to change the character. Press the soft button under DEST, turn the EFFECT TWEAK knob, and you will see that you are switching through memory locations A, B, C, and D in each of the sixteen numbered banks. Pick one to store your sound in, and press that SAVE button a second time. The button’s light will stop flashing, a progress bar will shown on the display, and the sound is stored at the location you chose, replacing the sound that was there before.

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

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

Controls & Connections

If you decide you don’t want to store the sound after you’ve started saving, press any other button to cancel the save. (The save will also be canceled if you don’t touch anything for 15 seconds after pressing SAVE.) If you accidentally save over a factory

2• 8 sound you liked, the SAVE button’s additional pages let you recall the factory preset version of a Channel Memory any time. See Chapter 4 for details on this feature.

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

22 Edit — A deep-dive into tone central is available at the press of the EDIT button. While EDIT is lit, the SELECT knob selects pages of everything that makes up a Channel Memory. From here, you set all the effect parameters, select cabinets and microphones, and assign a parameter to the EFFECT TWEAK knob. To learn more about deep editing, please see Chapter 4.

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

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

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

Tuner Reference — Want a different reference than A=440Hz? When you’re in the tuner mode, press the button labeled 440 Hz and turn the EFFECT TWEAK knob on Bass PODxt while watching the display. This control lets you set the reference frequency anywhere from 430-450 Hz. This setting is stored so you don’t have to reset

Controls & Connections

it every time you turn on Bass PODxt if you decide you want to be different (or if that piano in your rehearsal room has decided to be different).

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24 Tap — Bass PODxt allows you to control the time and speed of your Mod and Delay effects by simply tapping on this button. To use the TAP control, just tap the button at the tempo you want and the effects that are set to “lock” to that tempo will change to match what you tapped. There’s also a Tempo parameter near the end of the EDIT pages, so you’ll see exactly what Tempo you’ve Tapped. This is especially useful if you are trying to nudge your TAP setting to just the right value. See Chapter 4 to learn how to set up effects to follow the tempo that you’ve tapped.

Controls & Connections Bass PODxt Pro

Bass PODxt Pro

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

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25 Input Level — The NORMAL setting of this switch is appropriate for most basses with non-active pickups. If you see the CLIP light 28 coming on, that means you’re overloading Bass PODxt Pro’s input. If that happens frequently, try the PAD setting here. This switches in input circuitry that’s appropriate for hotter signals output by some basses with active pickups, or from keyboards and other sources. For those nonbass sources you may also want to try the rear panel Line Level Input 29, which is a balanced TRS connection. A separate CLIP indicator shows in the display if you are clipping in the internal DSP.

26 I/O & Dig Select — Press this to tell your Bass PODxt Pro what it’s connected to so it gives the best sound, and to choose digital audio and other options.

•Press it once to select where you’re going to connect your input source to the Bass PODxt Pro, and exactly what you want to come out of the digital outputs.

• Press it a second time to tell Bass PODxt Pro whether you’re using it in the studio or live, how you have connected your effects loop and what kind of digital gear you have connected to Bass PODxt Pro.

•Press it a third time to access the options for Bass PODxt Pro’s Bi-Amp mode.

•A fourth press will dismiss the pages and take you back to whatever was in the display before you pressed the button.

27 Signal Light — This lights to say, “Yep, I’m hearing some input.” If you’ve got something feeding audio to your Bass PODxt Pro but you can’t hear it and don’t see it here, press the I/O & DIG SELECT button 26 and be sure you’ve got the right input selected. (This light doesn’t show input from USB, by the way.)

Controls & Connections Bass PODxt Pro

28 Clip Light — This lights to say, “Whoa, Nelly! That’s too much input!” (And, again, it doesn’t show the status of USB audio.) Reduce the output level of the bass or

30 Unprocessed Bass Out — This connector actually has at least a couple of potential uses. If you’ve got a separate rack-mount tuner, you can feed it with this signal for instance. But the real reason it’s here is to let you do the kind of after the fact adjustments to your bass tone that Pro Tools users with our Amp Farm plug-in software have come to rely on.

The idea is this: you record this unprocessed bass out signal to your recording system. Then, you play it back through the Line Level Input 29 of your Bass PODxt Pro when you’re mixing, and you can change amps, effects and every other aspect of your bass tone with complete flexibility.

’Course, it would be pretty hard to record a good bass take without hearing the amp and effects sound that you were planning to use, right? The answer is that you don’t listen to this unprocessed signal while recording—instead, you monitor your Bass PODxt Pro’s processed output during the recording process. You can even record both the unprocessed bass out and the Model and D.I. outputs at the same time, so you’re ready for complete flexibility in later tone adjustments, or you can just stick with what you had. Page 3•17 has details.

Bass PODxt Pro’s digital outputs can also send unprocessed signal, if you prefer to capture this signal digitally. You can set them to do this from the display pages of the

I/O & DIG SELECT button 26.

Controls & Connections Bass PODxt Pro

31 32 Effect Send & Return — The effects loop is designed for line level devices, like rackmount effect processors, not for stomp boxes (which you can run happily in front of your Bass PODxt Pro). You can choose to run the loop series or

2• 12 parallel from the display pages of the I/O & DIG SELECT button 26. If you have the loop set to series, but nothing plugged into the loop return, Bass PODxt Pro is smart enough to see this and disable the loop so you still get sound. See page 3•13 for more details. If you want to use the loop on the D.I. only, you must still plug a cable into the Model Send. Otherwise the D.I. loop will be sent Model + D.I. signal.

33 Unbalanced Analog Out — The display pages of the I/O & DIG

SELECT button 26 configure these outputs for Studio or Live Use, and also allow you to enable Bi-Amp Mode.

• In Studio Mode, these jacks are ready to plug into a recorder with –10 dBV unbalanced inputs.

• In Live Mode, they don’t have speaker simulation, and are ready for connection to an onstage power amp.

• When Bi-Amp Mode is enabled, the low frequency portion of your signal is sent out the D.I. jack, while the high frequency portion goes out the Model jack, so each jack can be connected to a separate power amp and speaker cabinet(s) to separately amplify your lows versus your highs.

Whichever options you choose, the front panel Output knob 4 determines how much signal you’ll get at these jacks.

34 Balanced Analog Out — The I/O & DIG SELECT button 26 display

“pages” configure these outputs for Studio or Live Use. In Studio Mode, they’re ready to plug into a recorder with balanced +4 dBu inputs. In Live Mode, they’re ready to send great sounding –10dBV signals to the house sound system or P.A. The front panel Output knob 4 does not affect the volume at these jacks in Live Mode. This lets you make onstage adjustments to your volume without affecting the P.A.’s levels.

Controls & Connections Bass PODxt Pro

35 Ground — This switch lets you lift the grounds of Bass PODxt Pro’s XLR Balanced Analog Outs. This can be handy if you get an audible hum caused by a ground loop when connecting to other grounded equipment.

2• 13

36 AES/EBU & S/PDIF Inputs & Outputs — These jacks send and

receive digital audio signals. The display pages of the I/O & DIG SELECT button 26 choose which of 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 analog output as the same time as digital input, or any combination. You can even send digital audio into Bass PODxt Pro with one rate and word length, and choose a different rate and word length for output.

Bass PODxt Pro does not include a separate clock connector, but it can clock to the digital audio being received at either of its digital inputs, even if you are using an analog input to get audio into your Bass PODxt Pro. You can, for instance, connect a digital output from your digital mixer Bass PODxt Pro’s S/PDIF input, press the I/O & DIG SELECT button 26, set the FORMAT to MATCH SPDIF, and Bass PODxt Pro will clock to your mixer. Bass PODxt Pro will also format the digital audio it outputs to match the incoming format.

GETTING SET UP • All Purpose Basics

GETTING SET UP

The numbers in black boxes below and throughout the chapter refer to the back cover foldout’s illustrations

Bass PODxt is ready to give you world-class tone, no matter what you’re plugging

into. It’s as happy to live on stage as it is working alongside the most elite of world- 3 • 1 class recording systems. (And who wouldn’t be?) To tell you what you need for

where you’re going, this chapter’s got three sections:

Bass PODxt — In the Studio

Bass PODxt — Playing Live

Bass PODxt Pro — Connection & Configuration

But first, it’s the…

All Purpose Basics

1.Plug the power supply or cable into the wall, and connect it to the power connector on your Bass PODxt.

2.Connect your bass to Bass PODxt’s INPUT (Bass PODxt Pro’s BASS IN) 2 .

3.Bass PODxt: Connect Bass PODxt to whatever you’re going to be playing it into. The OUTPUT connectors 5 are balanced 1/4-inch TRS (tip/ring/sleeve) connectors, ready to rock with pro +4dBu balanced equipment. They will also work quite happily with unbalanced -10dBV equipment and standard bass cables.

Bass PODxt Pro: Use either pair of rear panel outputs, and see the details in the third section of this chapter. Press the I/O & DIG SELECT button 26 to select Bass (or whatever else you want) as your input.

GETTING SET UP • Bass PODxt — In The Studio

Bass PODxt — In The Studio

What are you connecting to?

Your Bass PODxt needs to adjust itself to deliver the best possible sound depending on what you’re connecting to. Press the TUNE/SYSTEM 23 button and turn the SELECT 16 knob clockwise until the display asks, “What are you connecting to?”

Press the Soft Button below DEST and turn the EFFECT TWEAK knob 14 to select STUDIO: DIRECT mode. In this mode, Line 6’s exclusive A.I.R. II DSP is active, and you are treated to a virtual speaker-cabinet-air-microphone experience that’s so good you may never use a regular bass amplifier and microphone set up again.

The DEST setting you select will be remembered by your Bass PODxt, so you don’t have to re-set it every time you power up. If you change it to a different setting for a special situation you come across, don’t forget to change it back again to the setting you normally use once you get back to your standard setup. When you plug your headphones into Bass PODxt, DEST will be automatically set to STUDIO: DIRECT, giving you the best tone for private jamming.

The Ins and Outs of Great Tone

If you’re hooking your Bass PODxt up to a recorder, mixer, or other equipment, be sure you are plugging its outputs into line level inputs on your other gear, as opposed to microphone level or bass level inputs. This will ensure that you get the best signal-to- noise ratio (lots of juicy bass tone, not too much hiss) with Bass PODxt. Some equipment only gives you a single input for both mic & line level sources, allowing you to trim low level signals (like mics) up to a high level at the inputs. If you are plugging

GETTING SET UP • Bass PODxt — In The Studio

your Bass PODxt into one of these inputs, try setting the trim to minimum, and twisting Bass PODxt’s OUTPUT 4 and CHANNEL VOLUME 11 knobs up to maximum. If your equipment has a couple of open line-level only inputs, you’ll probably get better performance by plugging into these, rather than the wide-ranging mic-to-line level trimmed inputs.

GETTING SET UP • Bass PODxt — In The Studio

sometimes done: set up your track to record and start your pre-roll; reach up and flick your computer monitor’s power switch off; record your bass part; stop your recording, flick the monitor back on, and check out the buzz-free playback. Flatscreen LCD monitors generally don’t cause hum and buzz.

GETTING SET UP • Bass PODxt — Playing Live

Bass PODxt — Playing Live

Bass PODXT Pro users, fast forward to the Bass PODXT Pro – Configurations & Connections section at the end of this chapter.

3 • 5

Mount Up

If you perform live, you’ll probably want to have the Bass PODxt in a handy spot on stage. One of the easiest ways to get it there is with the optional Bass PODxt mic stand/ amp top adaptor you can get from Line 6 — it’s 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 Bass PODxt’s deliciously curved aluminum chassis wherever you need it for mid-show tweaking. And that custom PODxt carry bag is simply smashing…. But let’s get back to educational stuff:

Keeping Your Options Open

When you’re playing live with Bass PODxt, you’ve got a choice of setups. You can plug straight out of the Bass PODxt’s outputs into the house system for awesome tone without the hassle of mics and cabinets and all that other stage setup. You can also choose to run Bass PODxt’s MODEL OUPUT 5 into a power amp and speaker cabinets, using it as the ultimate preamp. Or, you can plug your Bass PODxt in between your bass and a bass amplifier so Bass PODxt acts as a tone shaping front end for the amp. Whichever setup you choose, you’re gonna have to tell your Bass PODxt about it first. Read along and we’ll get’cha dialed in like a pro.

What are you connecting to?

You can supply your Bass PODxt with one of three answers to this question, and thereby ensure that your little pal gives you the best possible tones in any setup. To start the dialogue, press the TUNE/SYSTEM 24 button and then turn the SELECT 16

knob until the display asks, “What are you connecting to?”

GETTING SET UP • Bass PODxt — Playing Live

The options here are:

STUDIO DIRECT—When plugging Bass PODxt straight into a P.A., or using in-ear monitoring systems, press the Soft Button below DEST and turn the EFFECT TWEAK knob 14 to select STUDIO DIRECT for amazing tone, night after night. Line 6

exclusive A.I.R. processing serves up a virtual speaker-cabinet-air-microphone

3 • 6 experience so good you may never use a regular bass amplifier and microphone on stage again. You’re as powerful as the entire P.A.—and guaranteed to be in the mix!

LIVE W HORN & LIVE NO HORN—Choose one of these settings when plugging into a combo amp, head and bass cabinets, or power amp and bass cabinets. Choose NO HORN if your system doesn’t have a horn or high frequency driver, or you’ve chosen to turn them off on your speaker cabinet. Choose the W HORN option if your system includes a horn or other high frequency driver. The Mic component of A.I.R. is turned off, and the Cabinet Models are revoiced to sound their best coming through the kind of setup you choose.

Bass PODxt remembers the DEST setting you choose, so you don’t have to re-set it every time you power up. If you change to a different setting when using a different setup, don’t forget to change back to your standard setting once you get back to your regular setup.

Getting The Right Tone With An Amp

When you’re playing Bass PODxt into the front of a combo amplifier, it’s a good idea to start off with your combo amp in neutral. What is “neutral,” you ask? Well, if you only have one volume control on your amp, set it low enough to get a “clean” tone; that ensures Bass PODxt’s sounds come through as purely as possible. If you have a master volume in addition to a volume control on the input, set them both so that the first volume doesn’t overdrive the master volume (so you’re getting a clean tone). This will vary from amp to amp, but usually the input volume is going to be less than the master volume to get a clean, non-distorted sound. If you have passive tone controls, try setting your mid control at max, and your treble and bass controls at zero (this is actually “flat” equalization-wise on most amps). Active tone controls may vary, but just be sure you’re not overdriving the amp so the Bass PODxt tone comes through without extra coloration. Once you get going, you can tweak the amplifier settings to suit your tastes. Try to set the Bass PODxt’s OUTPUT so you’re not overdriving the input of the amp.

SYSTEM 24

GETTING SET UP • Bass PODxt — Playing Live

If you have a bass amp with an effect return or a jack that lets you connect directly to the input to the power amp, you can plug Bass PODxt’s output right into that connection and that will generally bypass the tone controls of the amp and avoid their coloring of Bass PODxt’s tones. When plugging into the effect return or amp directly this way, you want to choose LIVE NO HORN or LIVE W HORN on the “What Are You Connecting To?” page.

3 • 7

External Stomp Boxes and Bass PODxt

If you’ve been playing bass for a while, you probably have some favorite pedals that you dig. And even though Bass PODxt has now graced your life with some pretty hip stomp box and rack effects models, you probably still want to have the option of keeping those old pedals in your arsenal. No problem! Just remember that if you’re going to use Bass PODxt with those other effects boxes in front, they’re going to act differently based on the Amp Model you’ve selected on your Bass PODxt. It’s just like you’d expect — different combinations will produce a veritable feast of tone! Some distortion boxes may sound overly harsh if you max their output volume into your Bass PODxt. Try lowering the distortion box’s volume, and you can always add more gain with Bass PODxt’s DRIVE knob or its own STOMP effects.

Bi-Amp Mode

Bass PODxt includes a Bi-Amp Mode. Bi-Amping is the technique of using a crossover to split a signal into its higher frequency and lower frequency portions, and sending each frequency range to a different amplification system. Lows would typically be sent to a power amp setup with lots of wattage and large diameter speakers, while highs would be sent to smaller diameter speakers and/or horns. Bass PODxt’s Bi-Amp Mode includes selectable slope and frequency.

To activate Bass PODxt’s Bi-Amp mode and adjust its options, press the TUNE/

button and then turn the SELECT 16 knob until you see the page with

the heading “Bi-Amp Setup”:

Vox V847 Wah
Custom Vox V847 Wah
Colorsound Wah-Fuzz
Maestro Boomerang Wah
Jen Electronics Cry Baby Super Wah
RMC Real McCoy 1 Wah
Arbiter Cry Baby Wah
Sub Octaves Synth Effect
Digitech Whammy Pitch Effect
Maestro Bass Brassmaster
Sans Amp Tube Driver

Плюс пакет FX JUNKIE:

Модели усилителей в процессоре Line 6 POD XT Live основаны на:

Line 6 Clean
Line 6 JTS-45
Line 6 Class A
Line 6 Mood
Line 6 Spinal Puppet
Line 6 Chemical X
Line 6 Insane
Line 6 Piezacoustic 2
Line 6 Agro
Line 6 Lunatic
Line 6 Treadplate
Line 6 Variax Acoustic
Budda 2001 Twinmaster
Fender 1953 Deluxe Reverb
Fender 1958 Bassman
Fender 1961 Champ
Fender 1964 Deluxe Reverb
Fender 1965 Twin Reverb
Gretsch 1960 6156
Hiwatt 1973 Custom 100
Marshall 1966 JTM-45
Marshall 1968 Super Lead
Marshall 1968 Jump Channel
Marshall 1968 Variac Plexi
Marshall 1987 JCM 800
Marshall 1996 JMP-1
Matchless 1996 Chieftain
Matchless 1993 DC-30
Mesa/Boogie 2001 Dual Rectifier
Mesa/Boogie Mark IIc+
Roland Jazz Chorus 120
Soldano 1993 SLO-100
Supro 1960’s S6616
Vox 1961 AC-15
Vox 1967 AC-30TB

• Modeled Amps & Cabs 5•28 Tube Preamp Not even close to being a guitar amp, but once we got started, we just couldn’t stop ourselves. The thinking went like this: ‘Once people get this PODxt Live, they’re gonna wish they could use it for everything — warming up keyboards, crunching up drums, fuzz- ing up vocals. We’ve gotta give ’em something to do that!’ So we did. The Tube Preamp Model lets you warm

• Modeled Amps & Cabs 5•18 Brit JM Pre — Based on* a Marshall ® JMP-1 Marshall ® ’s entry into the rackmount preamp world, the JMP-1, has been a favorite of ‘big-hair’ metal guitarists as well as many others looking for a tight, highly saturated tone without the compression of poweramp ‘sag.’ It was also one of the first MIDI-controllable preamps. The overdrive flavor of the JMP is somewhat “Boogie ® -esque” and many people saw the JMP as Marshall ® ’s answer

• Effect Model Details 6•36 Reverse Delay !seltaeB eht dna xirdneH imiJ ekil tsuJ — Take a step back in time with your cool new reverse delay. Whatever you play in comes back out at you backwards, delayed by the time you set (up to 2 seconds). To use this little wonder most effectively, try playing a legato lick, ignoring the reverse playback as well as you can. Longer licks can translate into very cool reverse phrases. We’ve seen Tom Petty guitarist Mi

• Effect Model Details 6•11 Vetta Comp A Line 6 original, Vetta Comp has a fixed ratio (2.35:1, in case you’re asking) with the threshold (that would be your sens knob) adjustable from -9dB to -56dB and up to 12dB of gain available at the level knOB. In other words, turn the sens knob til you like the way your signal’s compressed, then set the volume with LeveL. Auto Swell This effect is an envelope generator, similar to the Boss ® SG-1 Slow Gear and other pedals. Each note or chord that

• Effect Model Details 6•1 effect Model details This symbol indicates Models from the FX Junkie Pack, included free with PODxt Live. visit www.line6.com/modelpacks to learn about other available Model Packs. What guitarist doesn’t like stomp boxes and effects? PODxt’s got a bunch of great stomp box and effect models adapted from Line 6’s DM4 Distortion Modeler, MM4 Modula- tion Modeler, and DL4 Delay Modeler pedals, and some brand spankin’ new models that come straight from our flagship combo, Vetta. You’ll also find the ol’ standby’s like Ping Pon

• Modeled Amps & Cabs 5•26 Class A-15 — Based on* a 1960 Vox ® AC 15 Here’s another Vox ® -inspired Amp Model. This model is based on Channel 1 of a won- derful 1960 AC 15. The sound is similar to the more famous Vox ® AC 30, but this is a smaller amp (one, instead of two, 12-inch speakers) with a warmer, more “woody” sound. Once again, the original amp had only a single tone control—a treble cut. We faithfully modeled that and then slipped in some post-Amp Model Bass and Mid conto

• Creating & Storing Sounds 4•8 Reverb settings Our next stop on our little trip through the edit wonderland is the Reverb page. (To get there, turn the Select knob one click clockwise from deLay’s last edit page: Here you’ve got the ability to change the reverb model (PODxt Live’s got plenty of them), as well as the associated parameters necessary to get that really groovy verb going on. Wah Settings From the

• Effect Model Details 6•29 Hi Talk The Line 6 tone chefs managed to combine a moog-like filter and a rotary speaker in a touch-sensitive, tap-tempo package. As a result, the Hi Talk can make heads spin with its high-passed filtered frequencies. Try this one to dress up some mean distortion! Sweeper Imagine having 2 wah pedals on steroids separated in a stereo field that are pulsating in opposite positions and you’re close to what you’ll hear here. Use the q and freq to set the character of the sweep and adjust yo

• Modeled Amps & Cabs 5•2 Line 6’s OriginaLs We’ll start the introductions with the original Amp Models that Line 6 created to give you even more tonal options than you could get from vintage gear alone: Line 6 Clean To create this Amp Model, we essentially grafted the preamp and tone stack of our model based on* a JC-120 (Roland ® ’s popular “Jazz Chorus” solid state combo) onto the poweramp and transformer of our model based

• Modeled Amps & Cabs 5•11 Two-Tone — Based on* a Gretsch ® 6156 Another amp made by Valco/Supro, this is the Gretsch ® 6156. One of its curiosities is that the output transformer is actually mounted on its single 10-inch speaker, rather than on the amp chassis. It also has a lovely wraparound grill cloth, for a real futuristic look (or what passed

• Effect Model Details 6•8 Bass Overdrive This model was inspired by our look at the Tech 21 Bass Sans Amp, plus a few extra liberties taken by the Line 6 sound design team. The Sans Amp is famous for delivering a very quiet and crisp signal under all circumstances, while also serving up a very distinct distortion. Is pleasingly metallic quality makes it a favorite with the Post-Metal crowd and Industrial bands, and producers in all genres of music have come to favor the Bass Sans Amp for crunching up loops. The Bass Overdrive covers the same sort of ter