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Line 6 POD X3 manual (rev B)

1. 2 1 Tutoriali 3 2 This is Tone 2 2 This is Tone 2 197 Gate wa 1 care COMP Eq voL lt XIIe voL LOOP MoD VERB gt Coop moD DTE VERB L3USER 21 2 amp 00B USER 21 2 8 008 Tone is selected above Tone 2 is selected above PRESS BRIEFLY 15 These knobs and footswitches control only one Tone at a time TONE DRIVE BASS MID TREB PRES VERB VOLUME DOUBLE PRESS FX SWITCHES EDIT Tutorials 16 Tweak combined volume of Tone 1 Tone 2 1 Tutorial pan 2 This is Tone 2 care 198 Come Eo voL LOOP MoD DIY VERB gt L3USER 1 2 a 0 0dB 17 Save SAVE TO Tutorial LN e is Tone 2 Key Tutorial INPUTS INPUTS Press to C finish save Choose a User Choose to Move Change location to save to edit name for cursor character Tone or Tone 2 Tutorials TuroRIAL POD ron GUITAR 1 Plug your guitar into Input 1 2 Turn on POD X3 3 Recall User Preset 32D Tutorial1 92D STOMP GATE WAH 92 COMP EQ voL Cmon IE 1 O 0dB Press to show the Home Page
2. Pam Press to show the Home Page Turn the Select Knob Turn to select Turn to choose h A2 a folder to choose a preset d from that folder 4 9 Recalling User Presets on POD X3 Live Using POD X3 Live s footswitches you can recall che 128 User presets with your feet It s easy Just step on the Bank Up or Bank Down footswitch to get to the bank you want 1 32 then use the A B C or D footswitch to recall a preset from that bank A D The preset will load as soon as you step on A B C or D PX SICH TO CT DELAY Getting Around Tones amp Tuner Locking Tone 2 From the Home Page you can lock Tone 2 to prevent it from getting overwritten when loading new presets This is handy when you re using Tone 2 for vocals and you want to make sure it doesn t change when you recall guitar presets on Tone 1 82 2 This is Tone 2 GATE WAH omr Ea vo 2 2 aUSER 21 2 2 Tone 2 unlocked Tone 2 locked 4 10 Saving Tones You can edit any of the POD X3 s presets or create one of your own and store it to one of the 128 User preset locations To save a preset follow these steps SAVE TO Tutorial HOME This is Tone 2 HOME HOLD FOR COMMANDS HOLD FOR COMMANDS Tutorial i KN INPUTS IN
3. 793 Feed Two Guitar Amps One for Tone 1 and One for Tone 2 793 Feed Two Guitar Amps One Wet and One Dry eese 794 Feed a Guitar Amp and Send Separate XLR Direct Outs ete 7 5 Electric Guitar to On Stage Amp amp Direct Out Vocals Acoustic etc to Direct Out Only sse 7 6 USB amp Computer 1 1 8 1 Updating POD X3 or POD X3 Live s Firmware eee br 891 Setting Up for USB Recording uuu etra 8 2 Appendix A Model 1 Appendix B Signal 1 4 1 1 Tutorials TuroRIAL POD Livre ron GUITAR 1 Plug your guitar into Guitar In 9 PEDAL 7 GUITAR Crne POD Xz 2 Turn on POD X3 Live 3 Recall User Preset 32D Tutoriall Press to get to User Bank 32 Press to load preset D Tutorials 4 The Home Page shows with the Amp Cab block selected The outlined block 2 is the selected DII VERB USER 21 2 a 0 0dB 5 Pick an Amp Model AMP L6 INSANE 15 50 GUITAR AMP MODELS TYPE BYP VOL ROOM C
4. Preset loads into Tone 2 f 1 Tutoriali 1 Tutoriali 51 MA Thisis Tone 2 MO This is Tone 2 2 Bubble Echo GATE WAH GATE WAH WAH COMP VOL VOL AMP CAB comp EQ VOL Cmon vens Cmon vens Cmon vene gt USER 21 2 a 0 0dB USER 21 2 a 0 0dB 3USER 1 2 a 0 0dB Turn to choose preset Bubble Echo Turn to Turn to select select 42 folder FX HVY 14 Select and tweak Tone 1 Tone 2 2D This is Tone 2 2 1 Tutorial 2 This is Tone 2 GATE GATE comp Eo vo lt CIE cow EQ voL Cmon EI vers es C foo DII vens USER 21 2 g 0 008 USER 21 2 a 0 008 Tone is selected above Tone 2 is selected above PRESS BRIEFLY Tutorials Tutorials 15 These knobs and buttons control only one Tone at a time TREBLE PRESENCE 2 6 TONE VOLUME 16 Tweak the combined volume of Tone 1 Tone 2 1 Tutorial P2Dj This is Tone 2 cre wax 5175 C COMP voL Cmon 1 USER 21 2 a 0448 17 Save SAVE TO Tutorial HOME This is Tone 2 HOME HOLD FOR COMMANDS HOLD FOR COMMANDS Tutorial INPUTS INPUTS Press to finish save Choose a User Choose to Move Change location to save to edit name
5. die 4 11 4 12 Reference Tweaking Tones 1 1 1 1 1 1 5el Ampt eM 5e Tone Controls 3 eiie dte ecelesie 5e Stomp BOXes amp oid eel ve E ER e e e leat esee 504 Modulation Effects sc cot an a et deinen Ee 507 Delay eeo eeri M 5 9 tede E EOD 5 11 5912 tete B Y ER E de S e 5913 sce eats 5 16 Effects Loop POD X dtd erbe the ste o RE UAE 5017 Reference Configuration amp Setup 6 1 Inputs eT OD Ra eredi end a 6 1 OPUS a eiie Lu 6 2 ii eire e tee acd ule e ne eg eee 6 5 Command 6 7 Example Setups pea 79 Mono or Stereo Recording or Direct to Mixer PA sss 791 Recording Tone 1 amp 2 to Separate Mono Tracks sss 1792 Recording Tone 1 amp 2 to Separate Stereo Tracks POD Live only 7 Feed One Guitar Amph acies
6. Clip Light This lights when clipping is detected which generally means unpleasantly distorted bad sound Try reducing the output level of the device that s feeding your POD X3 or reducing the Tone Volume for Tone 1 or Tone 2 or the volume of Tone 1 Tone 2 that can be adjusted from the right knob below the Home Page Input Guitar In Plug your guitar or bass in here You techies will want to know this is a mono unbalanced connection The Inputs page is where you assign whether this input feeds Tone 1 Tone 2 or both See Chapter 6 for more info Phones Plug your headphones in here to avoid noise complaints from the neighbors or the rest of your family The volume is set by the Master Volume 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 a Master Volume knob setting of about 10 o clock to start then turn up from there if you need more volume To give you great sound through the headphones your POD X3 automatically switches to Studio Mode whenever headphones are connected for more on Studio Mode see Outputs in Chapter 6 m 2 Power Connect the included PX 2 power pack and flip the switch here to bring your POD X3 to life Input 2 Microphone In and Trim Plug in your microphone here and use the Trim control to get a nice healthy level The In
7. Edit page you can also use the Left and Right buttons to step through the other Edit Pages in this order AMP gt STOMP gt MOD gt DLY gt VERB gt GATE gt COMP gt EQ gt WAH gt VOL gt LOOP POD X3 Live only To return to the Home Page from an Edit Page you can either press the Home button or double press the On Off button By the way you can also directly edit and turn blocks on or off using the POD X3 Keypad or POD X3 Live Footswitches You know the drill press to turn blocks on or off and double press to tweak Many of these blocks can be configured to be Pre or Post so their location in the Home Page can visually change depending on how they re assigned See Chapter 5 for details on every block s Edit Page and the parameters available to tweak Getting Around Tones amp Tuner The Dual Tone Concept One of the most powerful features of both POD X3 and POD X3 Live is Dual Tone capability What is Dual Tone you ask There are actually two 2 completely independent Tone paths available in POD X3 amd POD X3 Live This allows you to Process two 2 completely independent Tones for two separate inputs at the same time such as your guitar plus a microphone We like to refer to these as tone Pairs or Use two 2 completely independent Tones on a single input This is like running 44 through 2 amps at once We call these tone Blends or Set up one sound on Tone 1 and a different soun
8. MOD DM vers 9 USER 21 2 8 INPUTS OUTPUTS HOLD FOR SYSTEM OUTPUTS HOLD FOR SYSTEM Press to show Press up down left P 5 Double e p down left pe Press to turn ouble press the Home Page right to select EQ EQ on off to show EQ settings 11 Tweak the EQ PARAMETRIC EQ 1 12 008 A 6 608 100 250 24K 3 0K 1004 LMGN Press up down to select upper lower row There is no model select for EQ 1 2 2 2 2 Tutorials Tutorials 12 Turn both Tones on at once TONE 2 1 6 HOLD FOR 2 SECONDS 13 Load preset to Tone 2 Only Preset loads into Tone 2 l 1 Tutorial 1 Tutorial 82D 2 This is Tone 2 8205 This is Tone 2 care care vo gt cowe Eo Vol MOD fr VERB LOOP Mop VERB 3USER 21 2 a 0018 L3USER 1 2 a 0 0dB VOL 100 Mop VERB p IGUSER A1 2 0018 Turn to choose preset Bubble Echo Turn to Turn to select select 2 folder FX HVY Tutorials 14 Select and Tweak Tone 1 Tone 2 TONE 2 HOLD FOR DUAL
9. are wan EQ voL mon 9 USER 21 2 a 0 0dB Edit Tone Page Edit Tone 2 Home Page From a block s Edit Page you can also press the Tone 2 button POD X3 or step on the Tone 2 footswitch POD X3 Live to toggle between that block for each Tone DELAY TUBE ECHO 0 DELAY DIGITAL DELAY 2 1 48 Y 36 375MS J 120 0BPM 750MS OFF 120 0BPM TIME NOTE TEMPO TIME NOTE TEMPO 90 15 35 23 15 35 9 39 9 os DRIVE FDBK CONFIG BASS TREBLE FOBK CONFIG Edit Tone Edit Page Edit Tone 2 Edit Page Getting Around Tones amp Tuner 4 6 Tone Volume Controls The Tone Volume knob adjusts the volume of the Tone that is currently selected Use this control to set the correct balance between Tone 1 and Tone 2 From the Home Page the rightmost Multi function knob lets you adjust the volume of Tone 1 Tone 2 Back off on this control if you re seeing the Clip light turn on This level is saved and recalled with each preset GATE WAH Eo voL os 9 DLSER A1 2 a 0048 Tone Volume adjusts the volume Multifunction Knob 4 adjusts the of the currently selected Tone volume of both Tones at once You probably want all of your favorite sounds as loud as possible while also having the right difference in volume between your lead and rhythm sounds clean and dirty sounds etc Right OK th
10. Are your dreams filled with warm and fuzzy bass tones with lots of sustain If so the sound designers here at Line 6 are in the business of making your dreams come true We re not sure what they used to cook up the JTS 400 S but based on the secret apocryphal codex created by those afore mentioned sound designers our guess is that this is one of their Marshall Fender Frankensteins Could it be the front end of a 100 watt Plexi grafted on to the power section of a Dual Showman Or something like that Whatever this is our tone wizards who by the way are seen occasionally inside the Line 6 Tone Lab wearing capes and funny hats concocted it with sweet fuzzy bass in mind The first time we plugged in to this dream machine we as Captain Beefheart used to be fond of saying hit the lunar note and let it float Man we re still happy we did Line 6 Sub Dub This fabulous tone was brought to us by Justin Meldal Johnsen currently in his own band Ima Robot who s also played bass with Beck Tori Amos Air Macy Gray and other luminaries When we were creating the original Bass POD he brought his rack full of esoteric gear into the studio for us to poke and prod and model The resulting Amp Model was included in the original Bass POD and has become a particular favorite of the Bass POD faithful It s perfect for Hip Hop Electronica Trance Eurodance Rave and all of your Alternative tone needs Lower Drive settings produ
11. imans YO imans YO SINALNO SINALNO HONEY SINALNO HONEY dINYHMd INOW WOWS YO 0802 cl asn Mid 23N0L Nd L3NOL NOLLWINWIS 410415 E 3g sououd XIN 1038101010115 1504 943A 1sOd co 5 50 GOW Ses 5222 1504 10 3 SA Gud 10 355 t 3NOL A 484 TOA 31v5 9 co 2 X 00 dWOLS m GI Be2
12. 5 Supro 62 Thunderbolt 2x2 Mini T 2x2 Fender Mini Twin 2x12 Line 6 Line 6 2x12 2x12 Blackface 1965 Fender Blackface Twin Reverb 2x12 Match 1995 Matchless Chieftain You will probably want to use this Cabinet model with the Tube Preamp model for non guitar sources It is selected by default when you pull up the Tube Preamp Amp Model All product names are trademarks of their respective owners which are in no way associated or affiliated with Line 6 These product names descriptions and images are provided for the sole purpose of identifying the specific products that were studied during Line 6 s sound model development Fender Champ Deluxe Reverb Twin Reverb and Bassman are registered trademarks of Fender Musical Instruments Corporation Gibson is a registered trademark of Gibson Guitar Corp Vox is a registered trademark of Korg Europe Limited Matchless is registered trademark of Matchless LLC Roland is a registered trademark of Roland Corporation Marshall is a registered trademark of Marshall Amplification Plc Mesa Boogie is registered trademark of Mesa Boogie Limited Silvertone is a registered trademark of Samick Music Corporation Bass Amp Models Adam and Eve Based on an Eden Traveller WT 300 one of Eden s latter offerings which produces a clean clear and rich tone Brit Class A 100 Based on a Vox AC 100 the rig Paul McCartney began using in 1965 when he had ou
13. All product names used hereon are trademarks of their respective owners which are in no way associated or affiliated with Line 6 These trademarks of other manufacturers are used solely to identify the products of those manufacturers whose tones and sounds were studied during Line 6 s sound model development API is a registered trademark of Automated Processes Inc dba API Modulation Effect Models Analog Chorus Based on the Boss CE 1 Chorus Ensemble the original stompbox chorus with big warm and groovy chorus tones Dingo Iron Based on the Mu Tron III modeled for our Auto Wah model with the down switch on It s kind of like a reverse auto wah Rotary Drum Based on the Fender Vibratone Fender s guitar specific whirling dervish of a tone machine Analog Square Based on the Boss CE 1 Chorus Ensemble but with a square wave acting as the magical modulator Jet Flanger Based on the A DA studio quiet Flanger with its signature jet like sweep Rotary Drum amp Horn Based on the Leslie 145 the tube driven behemoth with its signature rotate o rama Auto Wah Based on the Mu Tron III envelope follower Part auto wah part triggered filter it s all about wacky Appendix A Model Gallery Bias Trem Based on the 1960 Vox AC 15 Tremolo which got its pulse by literally varying the bias of the power amp tubes Opto Tremolo Based on the optical tre
14. Keep these instructions in a safe place Before using your POD X3 or POD X3 Live carefully read the applicable items of these operating instructions and safety suggestions Obey all warnings on the POD X3 POD X3 Live and in this Pilot s Handbook Do not place near heat sources such as radiators heat registers or appliances which produce heat Guard against objects or liquids entering the enclosure gt Connect only to AC power outlets rated 100 120V or 230V 47 63Hz depending on the voltage range of the included power supply 5 Do not step on power cords Do not place items on top of power cords so that they are pinched or leaned on Pay particular attention to the cord at the plug end and the point where it connects to the POD X3 or POD X3 Live 6 Unplug your POD X3 or POD X3 Live when not in use for extended periods of time 7 Do not perform service operations beyond those described in this Pilot s Handbook In the following circumstances repairs should be performed only by qualified service personnel liquid is spilled into the unit an object falls into the unit the unit does not operate normally or changes in performance in a significant way the unit is dropped or the enclosure is damaged 8 Prolonged listening at high volume levels may cause irreparable hearing loss and or damage Always be sure to practice safe listening POD X3 and POD X3 Live Pilot s Handbook 2008 Line 6 Inc
15. Please Note Line 6 POD POD X3 POD X3 Live PODxt Vetta FBV FBV Shortboard FBV Express and FBV4 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 Table of Contents Tutorial POD Live for Guitar 55 lel Tutorial POD for Guitar 2 Controls amp Connections T 3el FP M peo D RETRO NM MSIE 3e Ea cR 308 Getting Around Tomes amp 4 Home cuente re crear ction ei tia amet alee 4 1 The Dual Tone Concept o etuer t eroe Geechee aah ae 493 Tone Volume 405 Preset Bolders id ee iia e aie 4 7 Recalling Presets ue i M 4 8 Recalling User Presets on POD X3 decoro testen 4 9 Locking TOt ee get ee A arenis 4 10 Saving TONES eoe orien re
16. Setup to increase the digital output level of sounds that don t have a lot of Amp Model or stompbox distortion or other settings that are driving their levels up System Press and hold the Outputs Hold for System button for 2 seconds to get to the System page CNTRL BOTH 1 TONES 2 VOL PEDAL PEDAL T NE1 TONE2 TONE2 DELAY DELAY COMP COMP MX TWK LPSW_ LPSW 6 5 Press the 4 way Nav Up and Down to move between this and page 2 SYSTEM Page Pedal and other settings The Pedal related settings here are for the wah voume tweak pedal built in to POD X3 Live and the pedal on some FBV foot controllers that can be used with POD X3 Pedal Use this to have the pedal affect either Tone 1 Tone 2 or Both Pdl Ass The pedal built in a POD X3 Live and some FBV foot controllers is pedal 1 and the optional external pedal that you can connect to it is pedal 2 This lets you pick what those pedal s control with these choices e 1 W off 2 Vol Pedal 1 controls Wah with the toe switch controlling Wah on off Pedal 2 if present controls Volume e 1 Twk 2 Vol Pedal 1 controls whatever is assigned to Tweak below Pedal 2 if present controls Volume e 1 Wah Vol 2 Tweak Pedal 1 controls both Wah and Volume with the toe switch Reference Configuration amp Setup 6 6 toggling between the two Pedal 2 if present controls Tweak assigned below Tweak If you ve as
17. a Hiwatt DR 103 this model gives a great punchy sound that will cut through almost anything 1993 Match D 30 Based on a Matchless DC 30 the amp that really put Matchless on the map The DC 30 paid tribute to early Vox amps Mini Double Based on the 1996 Fender Mini Twin the little battery powered dual 2 inch speaker Fender novelty item 1987 Jazz Clean Based on a Roland JC 120 the transistor amp known for strident clean sound and built in stereo chorus 1965 Plexi 45 Based on a Marshall JTM 45 block logo head complete with a gold Plexiglas front panel 1996 Match Chief Based on the Matchless Chieftain a unique sounding amp that is great for roots music ERN 1968 Plexi Jump Lead Based on a Marshall Plexi Super Lead with Channel I and Channel II jumpered together All product names used hereon are trademarks of their respective owners which are in no way associated or affiliated with Line 6 These trademarks of other manufacturers are used solely to identify the products of those manufacturers whose tones and sounds were studied during Line 6 s sound model development Fender Dual Showman Twin Reverb are registered trademarks of Fender Musical Instruments Corp Gibson is a registered trademark of Gibson Guitar Corp Hiwatt is a registered trademark of Fernandes Company Ltd Marshall is a registered trademark of Marshall Amplification Plc Mesa Boo
18. amp POD X3 Live s display Reference Configuration amp Setup Commands Press and hold the Home Hold for Commands button for 2 seconds to get to the Commands page SWAP TONE 1 2 RESET USER PRESETS PRESS SAVE TO EXECUTE Turn the Select knob to choose a Command then press the Save button to execute the 6 7 Command Press the Home button to exit without executing a command Swap Tone Tone 2 Just like the name says your current Tone 1 and Tone 2 settings will be swapped Reset User Presets This command will reset all 128 User presets to their factory standard settings WARNING this will destroy any customized settings you may have saved Example Setups EXAMPLE SETUPS Need quick instructions for a particular setup Just follow these easy steps And like any good recipe once you ve got the hang of things feel free to add your own tweaks on these recommended settings to spice it up Mono or Stereo Recording or Direct to Mixer PA 1 Connect output s to your recorder mixer or PA POD connect the 1 4 inch outs POD X3 Live the XLR outputs are recommended for live sound systems to provide a level that approximately matches a mic ed up amp You can also use them for recording into mic preamps or use the 1 4 inch outputs to get hotter line level outputs 2 Set the second OUTPUTS page Studio Direct Mix Tone 1 as desired 7 1 e Tone 1 Pan as desired Tone 2 as de
19. the Juice in Vetta Juice comes from the 30dB of available gain in the Level knob Holy smokes this thing s packin some heat It s got a fixed threshold of 40dB with the Sens knob varying compression ratio from 1 5 1 all the way up to 20 1 which is a whole heck of a lot This combination of design features gives you the option of cranking the level enough to get some serious gain boost or setting the gain lower and dialing up a smooth clean sustain Take your pick and dial away Ae25 Appendix A Model Gallery A 26 Delay Models Analog Delay Based the Boss DM2 Analog Delay treasured for the warm distorted tones it produces Analog Delay Modulation Here s a model based on the Electro Harmonix Deluxe Memory Man which is an analog delay with chorus Echo Platter The Echo Platter model was inspired by the Binson EchoRec a magnetic platter echo used by the likes of Pink Floyd Tape Echo Based on the solid state Maestro EP 3 Echoplex which used transistors instead of tubes for the sound electronics Tube Echo The classic 1963 Maestro EP 1 that this model is based on was the first of a series of Echoplex designs Multi Head Delay Based on the Roland amp RE 101 Space Echo Roland s first venture into the world of effects processing Line 6 Bubble Eko Bubble Eko has a Sample and Hold filter on the repeats A Sample and Hold filter if you haven t run ac
20. 6 These trademarks of other manufacturers are used solely to identify the products of those manufacturers whose tones and sounds were studied during Line 6 s sound model development Electro Harmonix is a registered trademark of New Sensor Corp A21 Appendix A Model Gallery A22 Line 6 Square Flange This the same as the Line 6 Flanger but using a square waveform instead of a sine wave Line 6 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 your depth to go from subtle to full on freak out Any resemblance to guitar tracks heard in a particular genre of B films is strictly coincidental Line 6 Synth FX These sounds aren t really designed to be musical These are more special effects sounds You ll hear a lot of these kinds of sounds in movie sound tracks Line 6 Synth Harmony If you loved those big synth leads from 70 s era prog bands then you ll love this effect There are two synth waves at work here Your first two parameters allow you to choose a pitch interval of your original note played Your Wave parameter works differently from what you d expect with the other synth models Here the Wave parameter controls the gain of the saw wave while the square wave gain remains constant Stompbox Effect Models Appendix A Model Gallery Bass Overdriv
21. File this one under Irony All product names used hereon are trademarks of their respective owners which are in no way associated or affiliated with Line 6 These trademarks of other manufacturers are used solely to identify the products of those manufacturers whose tones and sounds were studied during Line 6 s sound model development Arbiter is a registered trademark of Arbiter Group Plc Colorsound is a registered trademark of Sola Sound Ltd Cry Baby is a registered trademark of Dunlop Manufacturing Inc Maestro is a registered trademark of Gibson Guitar Corp Vox is a registered trademark of Vox R amp D Ltd Appendix A Model Gallery Throaty Based on the RMC Real McCoy 1 For many guitarists the original Vox Clyde McCoy signature or even rarer picture pedal is the holy grail of wahs Geoffrey Teese of did a lot of research even tracking down a supply of the original stack of dimes inductors and having pots that duplicate the taper characteristics of the original ICAR parts to produce a clone of these highly sought after wahs Weeper Modeled after an Arbiter Cry Baby this is yet another variation on the original Vox wah design The biggest variation between many of these wah pedals is the inductor and the tolerances of the capacitors and resistors that make up the filter circuit Just like vintage guitar amps two of them made on the same day by the same person from the same parts bin might soun
22. Hiwatt is a registered trademark of Fernandes Company Ltd Marshall is a registered trademark of Marshall Amplication PLC Appendix A Model Gallery Preamp Models American Classic This model is based on an API 512 Mic Pre and API 550b EQ housed in an API Lunchbox 500 6 Modern This model is based on an Avalon VT 731 which is an excellent example of a modern tube preamp No photo available Vintage Based on a Requisite Y7 mic pre and incorporates elements of analog machines of the day Vintage U K Based on the truly classic 1970 s Neve 1073 pre amp which became the Gold Standard of pre amps B design Line 6 Console our model inspired by solid state console mic pre designs delivering flat frequency response that is very clean and without the additional personality that the other Preamp Models provide This is a great choice when you want to capture quality audio without adding color as you might want to do when recording line level instruments like keyboards Line 6 Lo Fi Looking for something aggressive trashy or just plain interesting Try the Lo Fi tip It gives you tones that are very band passed meaning there s little low end or extreme high end with lots of distortion available from the driver knob You ll find it s just the thing when you want your vocals to sound like they came through a telephone megaphone or toy microphone A 18
23. Page and return to the Home Page Chapter 5 gives you details on all the Edit Pages available Tap Hold for Tuner POD X3 allows you to control the time and speed of your Delay and or Mod effects by simply tapping on this button Just tap a few times here and the effects that are set to lock to that tempo will change to match what you tapped There s also a Tempo parameter in the effects Edit Pages so you ll see exactly what Tempo you ve tapped This is especially useful if you are trying to nudge your Tap 3 3 Controls amp Connections 3 4 setting to just the right value See Chapter 5 to learn how to set up effects to follow the tempo that you ve tapped Press and hold the Tap button for 2 seconds to activate the tuner You can also add footswitch tuner activation with an optional FBV foot controller KJ Drive controls how hard you re driving the input of the chosen Amp Model Like the input volume control on a non master volume guitar amp higher settings give you more dirt This knob along with the Tone Controls Reverb and Tone Volume knobs adjusts the Tone that is currently selected Tone 1 or Tone 2 See Chapter 4 for more info on Dual Tone and how this all works Tone Controls Bass Middle Treble Presence Just like any guitar amp And when you change Amp Models the response and interactivity of these controls change too so they act like the tone controls of the original amp that inspired
24. Turn to select Turn to choose A142 folder User Turn to choose preset Press to return to the 32D Tutorial Home Page Tutorials 4 Turn on the Amp Model HOLD FOR DUAL 2 This is Tone 2 ms 2 32 2 This is Tone 2 GATE WAH STOMP comp Eq 0 DLY VERB gt L3USER A142 a 0 0dB AMP CAB is on black sme PRESS STOMP EQ voL DLY VERB 9 USER A1 2 292 AMP CAB is off outlined 5 Pick an Amp Model AMP L6 INSANE B GUITAR AMP MODELS TYPE HOLD FOR DUAL 2 we srme V A Double press Turn to pick an e Q Q Amp Model TYPE selects from Guitar Bass and Pre Amp Models 6 Tweak the Amp Tone Controls 7 7 s MIDDLE TREBLE PRESENCE 7 Pick a Stomp Model and tweak it DISTORTION KILLER Z 0 16 7h 50 60 DRIVE GAIN MID Double press Turn to select DISTORTION KILLER Z DISTORTION KILLER Z 2609 e 9 DISTORTION KILLER Z 16 75 50 DRIVE GAIN CONTR MID 3 699 0 Press down to select lower row Turn to tweak upper row settings Turn to tweak lower row settings 8 Show th
25. dripping with tone Super Sparkle captures that organic vibe with a new twist its voiced in the clean low gain realm where everything usually sounds too clinical or too dark Super Sparkle is an edgy tone that will sparkle and shimmer if you treat her right So play nice Line 6 Throttle Pedal to the metal this Line 6 original is a medium high gain tone with a nice throaty growl Grab the Drive knob to give it some gas Line 6 Treadplate The original POD and POD 2 0 had a popular amp model that was our best attempt at the time to make a model based the Mesa Boogie Rectifier amp series of amplifiers In addition to the Boogie vibe that model had some unique qualities that were all its own and people it liked so much they asked us to let them get that same sound with the newest generation PODxt So here it is In a way Treadplate marks the first time we ve actually modeled another Line 6 product Here is an excerpt from the old POD manual to describe it modeled after a 1994 Mesa Boogie Dual Rectifier Tremoverb You can use this Amp Model to get that tight high gain sound used by bands like Dream Theater or Metallica All product names used hereon are trademarks of their respective owners which are in no way associated or affiliated with Line 6 These trademarks of other manufacturers are used solely to identify the products of those manufacturers whose tones and sounds were studied during Line 6 s sound model deve
26. footswitch and the Tempo knob Tempo Shows the tempo that s been set by Tap and lets you fine tune it Mix controls the ratio of wet effected to dry non effected sound that is heard Bass bass tone control Treble treble tone control Fdbk adjusts how much of the delayed signal is fed back to the input of the delay Config allows you to choose the position of the Delay pedal in your signal flow Pre before the amp model or Post after the amp model ModSpd for delays with modulation controls how fast or slow the modulating waveform sweeps Depth for delays with modulation controls the overall amplitude of the modulating wave Reference Tweaking Tones 5 10 Drive for Tape Delay models adds some tube warmth Flut for Tape Delay models adjusts wow and flutter that unique sound of a slipping dirty capstan Heads for some Tape Delays enables you to choose from the available combinations of the model s virtual tape heads Speed is the speed of the modulation for a modulated Delay Model L Fdbk for Stereo Delays controls the left channel feedback R Fdbk for Stereo Delays controls the right channel feedback Offset for Stereo Delays sets the time for the right side delay line as a percentage of the left delay s Time setting Spread for Stereo Delays sets the stereo spread of the delays from mono hard panned left and right Tone overall tone control Bits let
27. of grunge and noise that is sometimes just the sound you re looking for and that s why these old delays are still used to give a particular shape to the sounds that are run through them Early model digital samplers are sometimes used in modern day industrial and electronica to achieve these effects as well Try this model on a low resolution setting to get that characteristic digital grunge The bits knob lets you adjust the delay anywhere from its normal sparklin pristine 32 bit resolution down to as few as 6 truly nasty bits Bear in mind that as you turn the knob clockwise you re reducing the bit resolution so maximum bit reduction is achieved when the knob is all the way up think of it as a more control for how many less bits you want Your direct sound of course stays full resolution Tone control of the delay is also provided via the appropriately labeled tone knob Line 6 Phaze Eko This is a new fangled delay dreamed up by the free thinking sound design crew here at Line 6 Starting with the basic tone of our EP 1 tape delay emulation they ve added something very much like a Uni Vibe to the delay repeats The result is an echo unit that gives you unique new creative possibilities for adjusting the tone of your delays with a beautiful burbling texture If we do say so ourselves Line 6 Ping Pong Delay The Ping Pong Delay is the one delay that can be run as a Post Delay Effect but not as a stompbox since this kind of delay req
28. the Amp Model you ve selected Reverb Spin this knob to set the Reverb level of the Tone that is currently selected Tone Volume This knob controls the relative volume level of the current Tone Master Volume This controls the overall output level of POD X3 and also sets the headphone level Changing the Master Volume level does not change your tone so you can get the tone you want at any volume level This setting is not saved when you store settings into one of the POD X3 s memory locations When running into line level gear like recorders mixers and PA s POD X3 will generally give the best signal to noise performance when you have the Master Volume control at max With the Master Volume control turned down low you may get extra hiss which obviously isn t what you want if you turn up your mixer or recorder s output to compensate In order to allow you to set the Master Volume as high as possible when connecting to recording mixing and other studio gear be sure you are plugging POD X3 s outputs into line level not microphone or guitar level inputs Line level inputs should allow you to turn POD X35 Master Volume up all the way or close to it and thereby get the best sound possible If your gear has inputs that function as mic line level inputs try to set the trim for those inputs to the minimum level and POD X35 Master Controls amp Connections Volume to maximum when setting levels
29. the clean channel is very sensitive to attack and dynamically responsive and the drive channel has a thick liquid singing sustain that doesn t lose string definition when driven hard The tone controls on this Amp Model are quite subtle like those of the Dumble itself All product names used hereon are trademarks of their respective owners which are in no way associated or affiliated with Line 6 These trademarks of other manufacturers are used solely to identify the products of those manufacturers whose tones and sounds were studied during Line 6 s sound model development Dumble is a registered trademark of Howard Alexander Dumble Fender Deluxe Reverb are registered trademarks of Fender Musical Instruments Corp Mesa Boogie and Rectifier are registered trademarks of Mesa Boogie Ltd Vox is a registered trademark of Vox R amp D Ltd Appendix A Model Gallery Line 6 Chemical X Just like those secret ingredients that detergent companies used to crow about Now with Ingredient X 27 the Line 6 sound design guys wouldn t tell us anything about the inspiration for this one or who it might have belonged to no matter what type of bribery we attempted Suffice to say that it s a very punchy hi gain sound that also cleans up quite nicely when you roll your volume back Line 6 Chunk Chunk The name says it all You re guaranteed to feel your pants flapping with this model Plenty of low end with a tight response This high gain model ha
30. to dress up some mean distortion All product names used hereon are trademarks of their respective owners which are no way associated or affiliated with Line 6 These trademarks of other manufacturers are used solely to identify the products of those manufacturers whose tones and sounds were studied during Line 6 s sound model development Uni Vibe is a registered trademark of Dunlop Manufacturing Inc Appendix A Model Gallery Line 6 Lumpy Phase A Line 6 original Lumpy Phase is exactly that lumpy Kinda like a Uni Vibe but more radical It also has some built in overdrive and more of a flange y type of sound due to our clever blending of a short delay into the swept signal Bass and Treble knobs on page 2 give you extra flexibility Line 6 POD Purple X This is definitely a sound effect We wanted something crazy that had a broken sound to it If played properly you can emulate the sound of a Pod Racer from Star Wars Episode I Line 6 Random Chorus This chorus uses three different modulating filters all running randomly A very busy chorus sound to be sure Line 6 Random Sample and Hold This has a similar effect as the old Oberheim Voltage Controlled Filter It creates changes in tone by randomly emphasizing certain frequencies Try locking this effect to the tap tempo and playing single chords to that tempo This effect is so inspiring you ll probably write a few new tunes based around the effe
31. to jack into the power amp input of a combo guitar amp Stack Front use this to jack into the instrument input of a guitar amp head with Reference Configuration amp Setup separate cab Stck PwrAmp use this to jack into the power amp input of a guitar amp head with separate cab Lows when Combo Front or Stack Front are chosen for Mode this control appears to let you to lower the overall bass output of POD X3 or POD X3 Live This helps to counteract any bass boost you may have built into your guitar amp Focus when Combo Front or Stack Front are chosen for Mode this control appears to let you increase the overall midrange output of POD X3 or POD X3 Live This helps to counteract any mid cut that may be built into your guitar amp Highs when Combo Front or Stack Front are chosen for Mode this control appears to let you lower the overall treble output of POD X3 or POD X3 Live Tone 1 allows you to either turn On or Mute Tone 1 independent of the settings of the Studio Direct Mix that drive the XLR and other outputs Pan sets the location of Tone 1 in the stereo field independent of the settings of the Studio Direct Mix that drive the XLR and other outputs Tone 2 allows you to turn On or Mute Tone 2 independent of the settings of the Studio Direct Mix that drive the XLR and other outputs Pan sets the location of Tone 2 in the stereo field independent of the settings of the Studio Direct Mix tha
32. volume pedal is at its maximum toe down setting Config allows you to choose the position of the volume pedal in your signal flow Pre before the amp model or Post after the amp model Reference Tweaking Tones Effects Loop POD X3 Live only 5808 240B 100 9 SEND RETURN MIX OST CONFIG This lets you tweak the settings related to the Effects Loop Note that the Loop can only be on for one Tone at a time and turning the Loop on for one Tone automatically forces it off for the other 517 Send adjusts the gain of the send output from 80 to 0 dB Return adjusts the gain of the return inputs from 0 to 24 dB Mix 0 100 set this to 100 for parallel style operation Config allows you to place the Effect Loop in two different locations in the POD 3 signal chain Pre after the Stomp block before the Mod and Delay blocks Post before the Mod Delay and Reverb blocks If nothing is connected to the loop POD X3 Live is smart enough to disable the loop so you still get sound Reference Configuration amp Setup REFERENCE CONFIGURATION amp SETUP Inputs Press the Inputs button to get to the inputs page GUITAR TONE1 TONE2 Here you can route hardware inputs to Tone 1 and Tone 2 6 1 Tone 1 pick an input to get routed to Tone 1 For POD you can choose Guitar or Microphone For POD X3 Live you can also choose Aux Variax Guitar Aux G
33. 20 See Chapter 4 to learn about Home Page functions for these knobs Footswitches These allow you to do the following Tone 2 Hold for Dual Press to toggle between Tone 1 and Tone 2 you re editing Tone 2 when the footswitch is lit Press and hold to turn Dual Tone on or off See Chapter 4 for more details Stomp Mod Delay turns the Stomp Mod and Delay processing blocks on or off the blocks are on when the footswitches are lit Double press one of these footswitches to tweak the block For example just press the Stomp footswitch two times quickly and you re instantly taken to the Stomp Box Edit Page Double press the same footswitch again or press the Home button to leave the Edit Page and return to the Home page Chapter 5 gives you details on all the Edit Pages available Comp Boost turns the Compressor processing block on or off Double press to tweak the block This footswitch can also be assigned to the Amp Model or Reverb processing block See the Pedal info page in Chapter 5 for more details Bank Up Down These choose amongst POD X3 Live s 32 banks of User presets Once you ve footswitched your way to a new bank you ll then also need to step on the A B C or D footswitch to actually load a preset from that bank We set things up this way so your audience won t hear you switching through presets as you make your way to your next bank of sounds A B C D The lights on these footswitches show y
34. AI Double press Turn to pick an P 2 4x12 57 78 BRIT CELEST T 75 S ON AXIS B MIC OUTPUTS HOLD FOR SYSTEM to show Amp Model AMP CAB TYPE selects from settings Guitar Bass and Pre Amp Models 6 Tweak the Amp Tone Controls MIDDLE TREBLE PRESENCE Tutorials 7 Pick a Stomp Model and tweak it TONE 2 Vin Hc N 0 X C 9 7 Hae DRIVE GAIN CONTR Turn to select DISTORTION KILLER Z Double Press DISTORTION KILLER Z 0 75h 50 DISTORTION KILLER Z 60 16 50 o 60 DRIVE GAIN MID DRIVE GAIN MID a O MID EQ Press down to select lower row Turn to tweak upper row settings Turn to tweak lower row settings Tutorials 8 Show the Delay settings COMP BOOST va wT oT Double Press 9 Set the Delay tempo and set it to run post after the Amp Model HOLD FOR TUNER DELAY TUBE ECHO 0 f 48 Y 375MS 120 0BPM TIME TAP TEMPO 90 35 PRE C DRIVE FDBK CONFIG y Press down to select lower row Tap delay temo Tap is set to quarter note DELAY TUBE ECHO ams d I TIME TEMPO 90 15 35 DRIVE FDBK CONFIG Set CONFIG to POST 10 Select the EQ 32 FOR COMMANDS e care BO com VOL
35. CE TWEAKING ONES Amp Cab AMP L6 INSANE 1 75 50 GUITAR AMP MODELS TYPE BYP VOL ROOM 4x12 78 BRIT CELEST T 75 S CAB 541 Type turn this knob to select Guitar Amp Models Bass Amp Models Pre Amp type Models Select Knob once the Type has been selected turn the Select Knob to pick an Amp Model The Model names will appear at the top of the display Cab spins through the available Cabinet Models The available cabs will change depending on the Amp Model that is chosen Mic changes the microphone selection Room adjusts the amount of room tone in your sound Low settings give you the sound of moving the virtual microphone closer to the virtual cabinet you ll hear only a small amount of the early reflections caused by the sound echoing in the room Higher settings increase the early reflections as if you moved the mic farther from the cabinet Byp Vol sets the Bypass Volume the volume that this tone will be set to when the Amp Cab block is off It doesn t affect the volume you hear with the Amp Cab block on Reference Tweaking Tones 5 2 Tone Controls AMP LINE 6 BOUTIQUE 1 0 270 6800 9500 94 BASS MID TREBLE PRES 62 57 DRIVE VOL Tone Controls adjust the overall tone of the currently loaded Amp Model You should know that these controls are individually crafted for each Amp Model so their response and interactivity will change depending on the Amp Model that is selecte
36. Louis Music Inc Fender Bassman Sunn SWR are registered trademarks of Fender Musical Instruments Corp JBL is a registered trademark of Harman International Industries Inc Marshall is a registered trademark of Marshall Amplification Plc Minibrute is a registered trademark of Pamco Enterprises Inc Roland is a registered trademarks of Roland Corp Vox is a registered trademark of Vox R amp D Ltd Appendix A Model Gallery bassists in every genre Grab a bass plus in and behold it definitely works for us Try pairing the Line 6 Classic Jazz Model with the 8 x 10 SVT cabinet model You ll be glad you did Line 6 Doppelganger Loosely based on a Fender Twin this original Line 6 creation gives up the low end with a nice friendly rattle in the high mids To enhance the Doppelganger and its unique sonic character choose a speaker cabinet of the open back variety Line 6 Ebony Lux This original creation was inspired by a Fender black face Deluxe Reverb Although not commonly used for bass plugging a bass into this Holy Grail of guitar tone yields a most pleasurable experience to say the least Imagine a clear top end transparent bottom and a nice mid scoop that makes your bass wonderfully unobtrusive This amp model makes it easy to find the proper space for your bass when accompanying those finicky singer songwriters who don t want anything getting in the way of their precious guitar or dainty piano Line 6 Frankenstein
37. POD X3 Live Pilot s Handbook Manuel de pilotage Pilotenhandbuch Pilotenhandboek Manual del Piloto An in depth exploration of the advanced technologies and pulsing tonal pleasures of POD X3 amp POD X3 Live 40 00 0139 Electrophonic Limited Edition available www line6 com manuals Rev B The serial number can be found on the bottom of your POD X3 or POD X3 Live It s the number that begins with 21 Please note it here for future reference SERIAL NO WARNING To reduce the risk of fire or CAUTION To reduce the risk of fire or electric shock electric shock do not expose this appliance to do not remove screws No user serviceable parts inside Refer rain or moisture servicing to qualified service personnel NOTICE This equipment has been tested and found to comply with the limits for a Class B digital device pursuant to Part 15 of FCC Rules Operation is subject to the following two conditions 1 This device may not cause harmful interference and 2 this device must accept any interference received including interference that may cause undesired operation The lightning symbol within a triangle means electrical caution It indicates the presence of information about operating voltage and potential risks of electrical shock The exclamation point within a triangle means caution Please read the information next to all caution signs You should read these Important Safety Instructions
38. PUTS Press to finish save Choose a User Choose to Move Change location to save to edit name for cursor character Tone or Tone 2 Getting Around Tones amp Tuner Tuner Press and hold the Tap button or footswitch for 2 seconds to enter tuner mode shazam Instant digital chromatic tuner for Tone 1 The display will change to the following BYPASS 4411 AUDIO All Amp Model and effects processing are bypassed so you can hear those questionably tuned strings clearly should you choose to do so Play a note on your guitar and you ll see what it is on that handy display all notes are displayed as flats so you ll see Ab instead of Of 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 Ref Want a different reference than A 440Hz Turn the Ref knob to set the reference frequency anywhere from 430 450 Hz This setting is stored so you don t have to reset it every time you turn on your POD X3 or POD X3 Live Audio Normally the audio will be muted while you re tuning but if you prefer to hear yourself tune turn the Audio knob to toggle between Mute and Bypass Press the Tap button or footswitch and the tuner disappears just as swiftly as it came Reference Tweaking Tones REFEREN
39. Page Big User Home Page Edit Page available for User Presets only 32 E Select Knob Turning this knob will do different things depending what page you re on Home Page turn to select presets See Chapter 4 for all the details Edit Page turn to pick a different Model This works for the Amp Stomp Mod Delay Reverb and Wah edit pages Full details are in Chapter 5 You can also press this knob to store your own tweaked up sounds in POD X3 Just press choose what to store and where to store it and press the button again to complete the Save Chapter 4 will fill you in Hold for Commands Press to return to the Home Page For User Presets press repeatedly to toggle between the Tone Path Home Page and the Big User Home Page Press and hold for 2 seconds to enter the Commands page Full details are in Chapter 6 a Inputs Press to enter the Inputs setup page to configure which inputs you re using Full details are in Chapter 6 4 way Nav Pressing this will do different things depending on what page you re on Home Page press Up Down Left and Right to navigate to a processing block Edit Page press Up and Down to move through each row of parameters available You can also press Left and Right to move to the previous or next edit page g On Off Press to turn the selected processing block on or off the blocks are on when the buttons are lit and the block on the Home Page is solid Double pre
40. Zen Master Based on Budda Twinmaster 2x12 Course then there are all the places in between combo this model has a great warm Class A B sound Line 6 Bayou Another Line 6 original model this is the result of our quest to capture the fondly remembered tone of a harp player blowing through a beat up old Fender Deluxe as heard in a roadhouse in Baton Rouge Louisiana Line 6 Big Bottom Just can t seem to get enough bottom end out of your cabinet Try punishing it with Big Bottom We crossed a Boogie Triple Rectifier with a Rivera Los Lobottom sub rig and dialed it in for serious disembowelment But it s not just about the bass A super wide midrange control and an extra presence high midrange maintain articulation and power throughout the tonal range of this amp Line 6 Boutique 1 Based on the POD 2 0 model of the Clean Channel from the Dumble Overdrive Special The Dumble Overdrive Special is one of those incredibly expensive custom amps that most people never get a chance to actually get close to in this lifetime Each incarnation of the Dumble magic is a little bit different because each of these amps is hand built for a specific customer and voiced to match their playing and desires With that in mind we based this TubeTone Amp Model on the analysis of several different Dumble Overdrive Specials Despite this tuning to the individual owner these amplifiers tend to have a number of features in common
41. ack Front or Stck PwrAmp d Lows Focus Highs as desired Tone 1 On Tone 1 Pan Full Left Tone 2 On Tone 2 Pan Full Right 3 Check your Master Volume Select the loudest preset settings you intend to use for your dry sound Play your instrument and turn Master Volume as high as you can without clipping the amp speakers that you re using as your dry amp 4 Setup your dry tone Dial in your dry sound on Tone 1 with little or no wet effects e Save your preset Example Setups 5 Set up your wet tone From the Home Page turn the second knob below the display and begin loading Tone 2 settings Selecting Tone 1 from the preset you just saved you ve copied Tone 1 to Tone 2 Set Tone 25 Tone Volume low Add more effects to Tone 2 cranking up the effect mixes so you hear all or nearly all wet signal from Tone 2 6 Save your preset using WET in the name of Tone 2 so you ll remember what it s for Feed a Guitar Amp and Send Separate XLR Direct Outs POD X3 Live only 1 Connect 1 4 inch output s to your amp or speaker system 2 Connect XLR output s to your recorder mixer or PA 3 On the first OUTPUTS page 1 4 inch Outputs 7 5 Mode Combo Front Combo Pwramp Stack Front or Stck PwrAmp Lows Focus Highs as desired Tone 1 On Tone 1 Pan as desired Tone 2 On 4 second OUTPUTS page Studio Direct Mix set the XLR output signals Mode St
42. age to configure which inputs you re using Full details are in Chapter 6 4 way Nav Pressing these buttons will also do different things depending on what page you re on Home Page press Up Down Left and Right to navigate to a processing block Edit Page press Up and Down to move through each row of parameters available You can also press the Left and Right to move to the previous or next processing block in the Tone path 9 On Off Press to turn the selected processing block on or off the blocks are on when the buttons are lit and the block on the Home Page is solid Double press to enter the processing block s Edit page where you can fine tune the parameters for that block Double press the same button again or press the Home button to leave the Edit page and return to the Home Page Chapter 5 gives you details on all the Edit pages available Outputs Hold for System Press to enter the Outputs setup page where you can set up POD X3 Live for whatever you re connecting it to This is a very important step for getting the best sound out of your POD X3 Live Press and hold for 2 seconds to enter the System setup page Full details are in Chapter 6 3 9 Controls amp Connections EJ Multi function Knobs Turn any one of these knobs to adjust the corresponding parameter in the display PARAMETRIC EQ 50 22 LOFQ LOGN 28 50 51 50 90000 HMGN wa 2
43. binations of saw square waves with fast vibrato The 8 different WAVE parameters offer different vibrato speeds and different pitches Line 6 Clean Sweep This is a wide range sweeping filter with a slow decay It s similar to Auto Wah but with a band pass filter shape Try setting the Decay all the way up the Sensitivity half way up and the Q all the way down Line 6 Double Bass This effect has two oscillators that track the pitch of your guitar One square wave tuned one octave down and one saw tooth wave two octaves down Line 6 Expo Chorus A Line 6 creation the Expo in this Chorus stands for exponential which is a fancy way of saying that the sweep of the flanging spends extra time in the swooshy part of the Chorus Line 6 Expo Flange Here s that exponential sweep we first found in the Expo Chorus this time applied to a flange effect The Feedback and Pre delay knobs on Page 2 can help you keep it in check or make it as strange as you want We think you know which way we re leaning on that one Line 6 Flanger Cooked up in the Line 6 labs this creation really shines when you set config to post letting its stereo sweep offset serve up luscious harmonic shimmer Line 6 Hi Talk The Line 6 tone chefs managed to combine 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
44. blocks include Getting Around Tones amp Tuner 42 e Amp Cab Loop POD X3 Live only Gate Mod e Wah e Stomp e Rev e EQ e Vol Comp Each block in the path can be selected turned on or off and tweaked to your liking To select a block from the Home Page use the 4 way Nav button to get to the one you want When a block is selected you ll see that it gets a frame around it 570 srowr Block not selected Block selected Once you select a block you can press the On Off d to turn that block on and off The color of the block tells you whether it s off inactive or on active 1srowP BO Block off Block on To tweak a block select it and double press the On Off button This will open up its Edit Page where you can use the Select knob to pick Models where available and the Multi function knobs to change the corresponding parameters as desired PARAMETRIC EQ 50 22 28 50 51 HMFQ HMGN HIGN Getting Around Tones amp Tuner If there are multiple rows or multiple pages of parameters in an Edit Page you can use the Up and Down buttons to get to them all DISTORTION KILLER Z DISTORTION KILLER Z 1 16 16 50 60 7500 50 60 2690 2690 DRIVE GAIN CONTR MID m DRIVE CONTR MID MID EQ l Press up down to select upper lower row for tweaking Q Q Q Turn to tweak upper row settings Turn to tweak lower row settings 4 3 From
45. ce virtually no clipping distortion while higher Drive settings will produce massive square wave distortion thus giving your synth player tone envy Dig Justin s own description All product names used hereon are trademarks of their respective owners which are in no way associated or affiliated with Line 6 These trademarks of other manufacturers are used solely to identify the products of those manufacturers whose tones and sounds were studied during Line 6 s sound model development Ampeg and SVT are registered trademarks of St Louis Music Inc Fender Deluxe Reverb Dual Showman are registered trademarks of Fender Musical Instruments Corp Marshall is a registered trademark of Marshall Amplification Plc Roland is a registered trademarks of Roland Corp Vox is a registered trademark of Vox R amp D Ltd 15 Appendix A Model Gallery 16 Dark and oh so deep this is the sound you pull out when it s time to go lower than low to hit deeper than the Moog line to rock harder than the 808 kick The sound of this model is a particular well tuned fundamental tone which gives you a lot of serious pure note without the muddiness you get when you try and make your amp do it For myself the sound creates a similar effect to standing in front of a well executed bass rig with a few 18 inch speakers involved to handle the low parts of the sound spectrum which is what I do playing live Inspiration for this sound fo
46. ckmount preamps Talk about high gain preamp tube distortion The X88R we studied to create this Amp Model would have been the rage for Los Angeles studio use in the late 80s All product names used hereon are trademarks of their respective owners which are in no way associated or affiliated with Line 6 These trademarks of other manufacturers are used solely to identify the products of those manufacturers whose tones and sounds were studied during Line 6 s sound model development Arbiter is a registered trademark of Arbiter Group Plc Fender Bassman are registered trademarks of Fender Musical Instruments Corp Marshall is a registered trademark of Marshall Amplification Plc Mesa Boogie and Rectifier are registered trademarks of Mesa Boogie Ltd Orange is a registered trademark of Orange Personal Communications Services Ltd Appendix A Model Gallery Line 6 Mood And here we give you a fantasia tone based on our memories of grunge guitar tones we have known and loved Line 6 Octone Now here s something we hope you ll really like What would it be like if you built a tube based Octave Distortion preamp for a Class A power amp Line 6 Octone provides the answer You d get an Octave box that tracks better than anything you ve ever used deals with consonant intervals with a degree of panache that just wasn t possible before and kicks some major rock and roll butt Line 6 Piezacoustic 2 This one is designed to work with the piezo
47. control with frequency select and gain boost cut for each band Line 6 Noise Gate The Gate effect helps eliminate unwanted noise when you re not playing and can be especially valuable when using high gain sounds Like a security gate it s supposed to quickly open to pass the things that you want and then swing closed to keep out the things that you don t want Turn the thresh all the way down to minimum to disable the Gate thresh s value will then be off as shown above The thresh knob determines how loud your playing has to be to open the gate More negative numbers where the knob is near its fully counterclockwise setting mean that the gate will open and allow sound through even when you are playing quietly and less negative numbers where the knob is near its fully clockwise setting mean that the gate will only allow sound to pass when you are playing pretty hard The decay knob determines how fast the gate will swing closed Like a gate in the real world a fast decay means the gate might catch your trailing foot as you pass through in this case that means the gate will chop off the decay of your notes And a slow decay means that as the gate swings slowly closed behind you someone might have time to slip through behind you in this case that would be the unwanted noise that you hear as your notes decay You ll have to experiment with the decay to get just the right happy medium for your particular guitar playing style and sound se
48. ct Line 6 Rez Synth These are all sweeping low pass filter effects with the resonance set high Resonance is a peak at the frequency of the low pass filter Line 6 Saturn 5 Ring Mod Ring modulators take two signals one supplied by your guitar the other supplied by the effect then adds and subtracts similar frequencies Electro Harmonix makes a ring modulator pedal called the Frequency Analyzer that is a popular guitar effect The only limiting factor is that the pitch of the signal provided by the effect is constant Meaning you have to play only in the key of that pitch to be musical Line 6 Seismik Synth This effect has an oscillator that tracks the pitch of your guitar You can choose between 8 different wave shapes which give you different flavors all of them one or two octaves down from the original pitch DEATH TO ALL SUBWOOFERS Line 6 Sine Chorus Your basic digital chorus as opposed to the analog type vibe of the Analog model with a sine wave as the modulator Smooth going down with bass and treble controls for bassing and trebling Line 6 Square Chorus This one s a bit smoother than the Analog Square but the basic vibe is similar thanks to the square wave modulator at the heart of the effect You ll find Bass and Treble controls for a bit of extra tone tweaking when desired All product names used hereon are trademarks of their respective owners which are in no way associated or affiliated with Line
49. d For Guitar and Bass Amp Models these correspond to the dedicated Tone Control knobs on the front panel Guitar Amp Model Tone Controls Bass bass tone control Mid mid tone control Treble treble tone control Pres presence control which brightens your tone Drive controls how hard you re driving the input of the chosen Amp Model and just like the input volume control on a non master volume guitar amp higher settings give you more dirt Vol controls the relative volume level of the current Tone you can use this to balance levels between various tones but in general you should set this as high as possible for the best signal to noise ratio Bass Amp Model Tone Controls Reference Tweaking Tones Bass bass tone control Lo Mid low mid tone control Hi Mid high mid tone control Treble treble tone control Drive controls how hard you re driving the input of the chosen Amp Model and just like the input volume control on a non master volume guitar amp higher settings give you more dirt Vol controls the relative volume level of the current Tone you can use this to balance levels between various tones but in general you should set this as high as possible for the best signal to noise ratio Pre Amp Model Tone Controls 20 Bass amp Freq bass tone control level and frequency Lo Mid amp Freq low mid tone control level and frequency LMid turn to choose 1x or 10x the l
50. d on Tone 2 and switch between them instantly with seamless transitions including delay and reverb trails We like to refer to this as Alternating tones There are essentially 3 steps to getting Dual Tone going on POD X3 and POD X3 Live 1 Assign inputs To assign inputs to each Tone press the Inputs button and select the input or combination of inputs to feed Tone 1 and Tone 2 Full details are available in Chapter 5 HOLD FOR COMMANDS en 2 Choose whether you want both Tones on at the same time or just one Tone by holding the Tone 2 button POD X3 or Tone 2 footswitch POD X3 Live for two seconds Getting Around Tones amp Tuner 1 Tutorial 2D 2 This is Tone 2 1 Tutorial I WAH wa HOLD FOR DUAL GATE WAH STOMP Con Eo vor as E 19 USER 21 2 Dual tone NIE L3USER 21 2 0 0dB Dual tone off 3 Tweak your Tones From the Home Page briefly pressing the Tone 2 button POD X3 or stepping on the Tone 2 footswitch POD X3 Live will toggle between controlling Tone 1 and Tone 2 When you re on the one you want you can select blocks turn them on off tweak and turn knobs as described earlier 4 5 Tone 1 name is inverted if Tone 1 is selected Tone 2 name is inverted if Tone 2 is selected Tutorial 2 This is Tone 2 Gare WAH come Ea vow on 9 3USER 1 2 0 0dB 2D 1 Tutorial
51. d the frequency you select Lm Gn adjusts the gain or cut of the low mid peaking filter Hm Fq sets the corner frequency of the high mid peaking filter affecting all sound at and around the frequency you select Hm Gn adjusts the gain or cut of the high mid peaking filter Hi Fq sets the corner frequency of the high shelf filter affecting all sound at and above the frequency you select Hi Gn adjusts the gain or cut of the high shelf filter Reference Tweaking Tones Wah VETTA WAH POS The Wah effect is generally expected to be controlled by the pedal built into POD X3 Live or an optional Line 6 FBV foot controller or third party MIDI controller 5 15 Select Knob turn to pick a Wah pedal Pos represents the current angle of that pedal with 0 meaning the pedal is fully heel down and 100 meaning it s fully toe down If you don t have a pedal connected you can still adjust Pos to get a parked wah sound Reference Tweaking Tones Volume Pedal VOLUME PEDAL 1 0 100 0 post MIN CONFIG The Volume effect is generally expected to be controlled by the pedal built into POD X3 5 16 Live an optional Line 6 FBV foot controller or third party MIDI controller Min determines how much volume you ll hear when the volume pedal is at its minimum heel down setting Set it to 0 to have silence in the heel down position Max determines how much volume you ll hear when the
52. d totally different As always we went for the best examples we could find Line 6 Vetta Wah This is the original PODxt Vetta Wah Model from back in the dark ages when a PODxt and Vetta had only one Wah model All product names used hereon are trademarks of their respective owners which are in no way associated or affiliated with Line 6 These trademarks of other manufacturers are used solely to identify the products of those manufacturers whose tones and sounds were studied during Line 6 s sound model development Arbiter is a registered trademark of Arbiter Group Plc Cry Baby is a registered trademark of Dunlop Manufacturing Inc Vox is a registered trademark of Vox R amp D Ltd 33 Appendix A Model Gallery 34 Line 6 Compressor Based the Telectronics 2 The Compressor effect is just the thing when you want to smooth out your levels the way that you would typically do in a recording studio The thres Threshold knob determines how aggressive you want the Compressor to be in smoothing things out More negative numbers make the Compressor more active in taming your levels so 32dB is a more aggressive setting than 16dB say The Gain control controls what else gain so that even when you re really squashing your signal with an aggressive threshold setting you ll be able to get good volume levels out of your POD X3 or POD X3 Live Line 6 Four Band Parametric EQ The EQ provides four bands of tone
53. down and 10096 meaning it s fully toe down If you don t have a pedal connected you can still adjust Pos to get a parked wah sound Heel sets how much effect you ll hear when the pedal is at its minimum heel down setting Set it to 096 to have no effect in the heel down position Toe sets how much effect you ll hear when the pedal is at its maximum toe down setting Reference Tweaking Tones Modulation Effects MOD U VIBE q 202 d m SPEED TAP TEMPO MIX PRE CONFIG Modulation effects are things that swoosh pulse and warble from phase shifters to flangers to choruses Why are they called modulation effects Well if we consult a dictionary we discover that modulate in the electronic world means to alter the amplitude or frequency of a wave by using a wave of a lower frequency to carry a signal definition courtesy of The Oxford Encyclopedic English Dictionary Third Edition thank you very much That modulating wave is what causes all that swooshing pulsing and warbling 597 Select Knob turn to load Modulation effect Model Speed directly controls how fast or slow the modulating waveform sweeps Tap set this to OFF to have this effect ignore tempo or pick a note value that you d like your speed to match works with the Tap button footswitch and the Tempo knob Tempo Shows the tempo that s been set by Tap and lets you fine tune it Mix controls the ratio of wet
54. e Based on the Tech 21 Bass Sans Amp with a pleasingly metallic distortion that is a favorite with the Post Metal crowd Blue Comp Based one the Boss CS 1 Compression Sustainer with the treble switch off Classic Distortion Based on the ProCo Rat an angry and aggressive distortion box that put teeth into a new breed of metal in the late 70 s Octave Fuzz Based on the Tycobrahe Octavia the classic fuzz octave effect One pioneering user of this type of effect was Jimi Hendrix Facial Fuzz Based on the Arbiter Fuzz Face best known for its famous association with guitar legend Jimi Hendrix Blue Comp Treb Based one the Boss CS 1 Compression Sustainer with the treble switch on Fuzz Pi Based on the Electro Harmonix Big Muff Pi an American twist on the distortion fuzz pedal Bronze Master Based on the Maestro Bass Brassmaster considered by many to be the Holy Grail of bass distortion units Killer Z Based on Boss Metal Zone the industry standard distortion pedal for metal players since 1989 Red Comp Based on the MXR Dyna Comp probably the most widely used stompbox compressor Based on an Screamer Ibanez Tube Screamer the overdrive heard round the world Tube Drive Based on the Chandler Tube Driver delivering the sweet singing sustain craved by guitarists worldwide All product names used hereon are trademarks of their res
55. e Delay settings v ves DOUBLE PRESS TO ADJUS Double press Tutorials 2 3 Tutorials 9 Set the Delay tempo and set it to run post after the Amp Model DELAY TUBE ECHO g f 48 Y DELAY TUBE ECHO 375 5 120 0BPM TIME TAP TEMPO TIME TEMPO PRE 2 PRE DRE conre 739 gt gt DRIVE FLUT FDBK CONFIG J 224 Tap delay tempo mw Press down to select lower row Tap is set to Set CONFIG to post quarter note 10 Select the EQ 82D GATE WAH come vo C wor vene OUTPUTS OUTPUTS HOLD FOR SYSTEM HOLD FOR SYSTEM Press to show Press up down left gt Press to turn Double press the Home Page right to select EQ EQ on off to show EQ settings 11 Tweak the EQ PARAMETRIC EQ 1 12 00B A 5 808 LOGN LMGN 9 3 9 O l 3 9 A Press up down to 2 ce upperlawer There is no model select for EQ 12 Turn both Tones on at once HOLD FOR DUAL AOA PRESS Press to show HOLD FOR 2 SECONDS the Home Page 13 Load preset to Tone 2 only
56. ed with Line 6 These trademarks of other manufacturers are used solely to identify the products of those manufacturers whose tones and sounds were studied during Line 6 s sound model development Aguilar is a registered trademark of David Boonshoft Ampeg SVT and Portaflex are registered trademarks of St Louis Music Inc Fender Dual Showman are registered trademarks of Fender Musical Instruments Corp Hiwatt is a registered trademark of Fernandes Company Ltd Marshall is a registered trademark of Marshall Amplification Plc Mesa Boogie is a registered trademark of Mesa Boogie Ltd Vox is a registered trademark of Vox R amp D Ltd Appendix A Model Gallery 14 Jaguar Based an Aguilar Jazz Tone Based on aPolytone Motor City Based on Rock Classic Based on a DB750 a superclean and Minibrute the original 1x15 Versatone Pan O Flex 1x12 mighty 1974 Ampeg amp SVT super warm amp perfect for can best be described as combo that wasahitinthe LA with a 70 s SVT 8x10 speaker players who need to hear it all intimate and subdued Studio scene in particular at cabinet RCA Studios Silverface Bass Based on a Stadium Based on a Sunn Studio Tone Based on Tweed B Man Based 1967 Fender Bassman Head Coliseum 300 the amplifier SWR 5 500 one of Fender Bassman 4x10 paired with a 2x15 closed back that spawned the explosion of the most if not the most Combo the amp that star
57. effected to dry non effected sound that is heard Depth controls the overall amplitude of the modulating wave which usually determines just how intense the effect will be Bass bass tone control Treble treble tone control Config allows you to choose the position of the Mod pedal in your signal flow Pre before the amp model or Post after the amp model Reference Tweaking Tones 5 8 Fdbk adjusts how much of the effected signal is fed back to the input of the effect Manual on Jet Flanger controls the length of the very short delay that s applied to the sweep to make the flanging effect happen Wave adjusts shape of the waves that drive the Tremolos and Auto Pan Tone overall tone control Predly adjusts how long it takes for the effect to kick in Q adjusts tone focus from sharp to broad Freq changes the frequency that the effect is focused on Flut adjusts the amount of tape style flutter for Tape Eater Dist distortion baby Reference Tweaking Tones Delay DELAY TUBE ECHO 1 1 48 Y 35MS orn TIME TAP TEMPO MIX 90 15 35 PRE DRIVE FLUT FDBK CONFIG Select Knob turn to pick a Delay model Time for mono delays sets the time for the delay line for stereo delays sets the time 5 9 for the left side delay line Tap set this to OFF to have this effect ignore tempo or pick a note value that you d like your speed to match works with the Tap button
58. en to get this happy balance start with your favorite clean sounds Turn up their volume as high as you can without getting the Clip indicator to light when you strum hard and save them that way Then switch amongst them to see if some are too loud and turn them down a bit to match well with the others Next move on to select your dirtier crunch and lead tones comparing them to the clean sounds and saving them with lower volume settings to match well with those clean sounds Now each time you use your POD X3 or POD X3 Live you just have to set a Master Volume level you like and you can switch amongst your various sounds without unhappy volume differences Getting Around Tones amp Tuner Preset Folders POD X3 and POD X3 Live include over 350 presets to cover a wide range of styles These presets store complete amp and effect selections and settings that you can call up at the touch of a button Of these presets there are 128 User locations that you can use to store your own custom tones These folders of presets are available USER any presets you save go here 128 total LOGAIN for electric guitar 30 HIGAIN for electric guitar 30 4 7 FX HVY for electric guitar 20 SONGS for electric guitar 40 ACOU for acoustic guitar 15 VOCAL for vocals 15 BASS for bass guitar 40 BLENDS Dual Tone Blends for electric guitar 30 DUAL Dual Tone Pairs for independent inputs 30 It s important to rememb
59. er GETTING AROUND Tones amp TUNER POD X3 and POD X3 Live allow you to completely tweak your tone giving you the ability to dial in just about any sound you can image More importantly we ve come up with an amazingly straight forward way for you to take total control of your sound It all starts at the Home Page Home Page You can get to POD X3 and POD X3 Live s Home Page at any time by pressing the Home button There are actually two versions of the Home Page the Tone Path Home Page and the Big User Home Page 4 1 Tutorial D 2 This is Tone 2 2D 2 This is Tone 2 wad 7 m m m comp voL m a 100P woo 3USER 21 2 a USER 21 2 120 Tone Path Home Page Big User Home Page available for User Presets only If the currently loaded preset is from the User folder you can toggle between these two Home Page displays by repeatedly pressing the Home button Otherwise the Tone Path Home Page will be the only one available The Big User Home Page is handy when you re on stage you ll be able to clearly see which User preset is loaded To the left of the Tone names is the bank and channel number 32D for example if this is a User preset or just a number if it s from one of the other preset folders The Tone Path Home Page also shows the Tone Path which includes all the digital processing blocks that are working to deliver you great tone The
60. er that since POD X3 and POD X3 Live have Dual Tone functionality each preset actually stores settings for both Tone 1 and Tone 2 In fact separate names for Tone 1 and Tone 2 are stored in each preset This comes in very handy when recalling presets Getting Around Tones amp Tuner Recalling Presets There are a couple of ways to recall presets from the Preset Library To recall a complete preset both Tone 1 and Tone 2 at once do the following HOME 32D 32D FOR COMMANDS GATE WAH GATE em Ea vo Ea VOL SZ 9 Coo 9 INPUTS 3USER 1 2 0 0dB L3USER 21 2 a 0048 4 8 Press to show the Home Page 5 Turn the Select knob to choose a preset from that Turn to select Turn to choose folder A142 a folder You can also choose to recall only Tone 1 9D 1 Tutorial GATE 2 COMP Ea voL ton 1150405 21 d Press to show the Home Page Turn the Select Knob to choose a preset from that folder Turn to select Turn to choose 21 a folder Getting Around Tones amp Tuner Or only Tone 2 92D 92D GATE FUTT Eo vo COMP Eo voL Cron Cito gt USER A2 d oB BASS 1 2 8 008
61. es country and roots players Blackface Vibro Based on the 1963 Fender Vibroverb 6G16 2x10 40 watts of pure heaven Bomber Uber Based on a 2002 Bogner Uberschall and much like the Bogner Ecstasy the Uberschall dishes up serious tone for high gain players Brit Bass Based on Input I of the 1968 Marshall Super Bass Plexi head This is the bottom end you ve been searching for 1990 Brit J 800 Based on a 1990 Marshall JCM 800 one of Marshall s most universally acclaimed modern amps Brit Gain 18 Based on the Marshall 1974X authentic re issue of the famous 1974 18W Combo from the late 60 Brit J 900 Cln Based the clean channel of a 1992 Marshall JCM 900 the first true modern high gain amp from Marshall Brit J 2000 Based on the OD2 channel of a 2003 Marshall JCM 2000 it captures the modern Marshall tone Brit J 900 Dist Based on the lead channel of a 1992 Marshall JCM 900 Nice mid tone with lots of gain All product names used hereon are trademarks of their respective owners which are in no way associated or affiliated with Line 6 These trademarks of other manufacturers are used solely to identify the products of those manufacturers whose tones and sounds were studied during Line 6 s sound model development ENGL is a registered trademark of Beate Ausflug and Edmund Engl Fender and Deluxe Reverb are registered trademarks of Fender Mus
62. et 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 Mike Campbell taking advantage of the Reverse Delay on the Line 6 DM4 Delay Modeler stompbox to play a backwards guitar solo live on a worldwide TV broadcast no less When using Reverse try setting the mix knob to full 10096 wetness so all you hear is the reversed sound instant backwards guitar solo fun Line 6 Stereo Delay Ever asked yourself How did The Edge U2 get that groovy sound on Where the Streets Have No Name Stereo delays my friend It s the secret to many a U2 song as well as the Big L A Solo sound of the late 80s Set one side as a fast echo with many repeats and the other as a slow delay with just a few repeats Voila you re famous Run this effect post in order to hear it in stereo with one delay on the left and another on the right The time parameter sets the left delay s time while offset sets the right delay time as a percentage of the left So if you set time to 500ms and offset to 5096 your right delay time will be 5096 of 500ms in other words 250ms Ignoring the particular value of the left delay time 5096 just means that your right delay happens in half the time So if you think of the left delay as a quarter note the right delay is an eighth note The second page o
63. f parameters for this model gives you independent left and right feedback controls so for instance you can have your left delay feedback set low for a small number of repeats while the right feedback is set high to give you a large number of repeats Line 6 Sweep Echo This model is a Line 6 original It first appeared on our DL4 Delay Modeler and has turned out to be a special favorite amongst the many DL4 users that we ve spoken to The knobs adjust the speed and depth of the sweeping filter part of the effect sweep speed sets how fast the filter sweeps and sweep depth sets the range of frequencies that the filter affects allowing you to create and explore your own shifting landscape of tonal possibilities There s both subtle texture and serious weirdness to be found in this one Try assigning one of the FBV pedals to control the Mix and use a relatively short delay for some fun Appendix A Model Gallery Line 6 Tape Eater If you ve ever had a cassette player eat a tape before you ll know what we re talking about After fixing the tape if you re lucky and reinserting it in to the player it always had a warbled sound on that section of the tape Now think of your guitar tone being recorded on that section of the tape That s the crazy effect we were after Try this with a slow speed setting and a 10096 wet mix Line 6 Warble Matic This effect is reminiscent of the Sweeper model but when used subtly it can produce a nice mild phase
64. for cursor character Tone or Tone 2 Controls amp Connections CoNTROLS amp CONNECTIONS 3 l OUTPUTS HOLD FOR SYSTEM MASTER VOLUME gt 9 lt HOLD FOR TUNER HOLD FOR DUAL U amp 1 PRESS ON OFF DOI BLE PRESS TO ADJUST LE Display The LCD liquid crystal display is your window into the power of POD X3 You ll see 2 types of pages in the display Home Page the Tone Path Home Page shows you all the digital processing blocks that are working to deliver your great tone For User Presets you can also switch to a Big User Home Page which shows you the bank and channel number where the preset is stored The tone names that are loaded in the current preset and the bank and channel number where the preset is stored are also displayed You can get to the Home Page at any time by pressing the Home button You can toggle between the two Home Pages by repeatedly pressing the Home button Edit Page shows you all parameters available to tweak for a processing block or setup page Controls amp Connections 1 Tutorialt 92D This is Tone 2 1 Tutoriali 82D 9 This is Tone 2 DELAY TUBE ECHO f 48 STOMP TIME TEMPO 90 15 35 PRE 21 4 DRIVE FLUT FDBK CONFIG 7 m IIMS 4 1200BPM CD CETT VOL 3 I3USER 1 2 a 0 0dB Tone Path Home
65. ge Chapter 6 LIVE FELT M WAT 02605 0 28 _ e AT Get sees E gt Lm MICROPHONE Pedal 2 Connect a standard expression pedal such as the Line 6 EX 1 and you ll be able to assign it to control the Volume Pedal or Effect Tweak functions See Chapter 6 for the detail on that Controls amp Connections EX Guitar In Plug your guitar or bass in here You techies will want to know this is a mono unbalanced connection The Guitar In Pad switch sets the sensitivity of this jack The Inputs page is where you assign whether this input feeds Tone 1 Tone 2 or both See Chapter 6 for more info CD MP3 In Connect a CD player MP3 player drum machine or other device here and you ll hear it at POD X3 Live s Phones Direct Out and Live Out Live Out The unbalanced 1 4 inch connectors here get your POD X3 Live s sound to a guitar amplifier recorder mixer or PA system The Output display pages configure these outputs for Studio or Live use In Studio Mode they re ready to plug into a recorder with unbalanced 10 dBV inputs In Live Mode they don t have speaker simulation and are ready for connection to an on stage power amp Whichever you choose the front panel Master Volume knob determines how much signal you ll get at these jacks You can use either jack as a mono output by the way EZ Direct O
66. gie and Rectifier are registered trademarks of Mesa Boogie Ltd Roland is a registered trademark of Roland Corp Vox is a registered trademark of Vox R D Ltd Appendix A Model Gallery 1968 Plexi Lead Based on a 1968 Plexi Variac d Based Silver Twelve Based on the Silverface Bass Based on a Marshall Plexi Super Lead a Marshall 100 watt 1967 Silvertone Twin Twelve 1972 Fender Bassman Head coveted by tone connoisseurs Super Lead being run at high head and cabinet combination paired with a 2x15 closed back the world over voltage thanks to a Variable cab loaded with JBL s AC Transformer 1953 Small Tweed Based ona 1993 Solo 100 Head Basedon 19605 Super Based on Thunder Based Wide Panel Fender Deluxe Soldano SLO 100 While the Supro 56616 the amp the 1962 Supro Thunderbolt Reverb primarily known for its high probably used by Jimmy Page 1x15 inch amp Jimi Hendrix gain personality the SLO 100 to record most of the first two frequently used in the studio has a great clean tone as well Led Zeppelin albums 5 1960 Tiny Tweed Based on 2001 Treadplate Based on 1958 Tweed B Man Based on 1960 Two Tone Based on the a Fender Tweed Champ Channel 3 of a Mesa Boogie Fender Bassman 4x10 Gretsch 6156 a 1960 1x10 Many of the classic guitar Dual Recitifier amp Solo head Combo the amp that started made by Valco Supro s
67. hear as your notes decay You ll have to experiment with the Decay to get just the right happy medium for your particular guitar playing style and sound settings Reference Tweaking Tones Compressor COMPRESSOR 1 67 24 THRESH GAIN The Compressor effect is just the thing when you want to smooth out your levels the way that you would typically do in a recording studio Thresh determines how aggressive you want the Compressor to be in smoothing things out More negative numbers make the Compressor more active in taming your levels so 32dB is a more aggressive setting than 16dB say Gain controls what else gain so that even when you re really squashing your signal with an aggressive threshold setting you ll be able to get good volume levels out of your POD X3 5 13 Reference Tweaking Tones EQ PARAMETRIC EQ 1 7 50 22 50 LOFQ LOGN LMFQ 28 50 51 50 a HMGN HIFA 4 Here s some good old fashioned EQ to make your tone sparkle rattle the neighbor s windows and everything in between You ve got 2 bands of shelving EQ and 2 bands of semi parametric peaking EQ to choose from 514 Lo Fq sets the corner frequency of the low shelf filter affecting all sound at and below the frequency you select Lo Gn adjusts the gain or cut amount of the low shelf filter Lm Fq sets the corner frequency of the low mid peaking filter affecting all sound at and aroun
68. ical Instruments Corp Marshall is a registered trademark of Marshall Amplification Plc 1996 Brit JM Pre Based on Marshall s entry into the rackmount preamp world the JMP 1 has been a favorite of big hair metal guitarists Citrus D 30 Based on a 2005 Orange AD30TC a 30 watt Class A number with a great personality that purrs pure Brit Rock tone Brit Major Based on Input 1 of the 1969 Marshall Major a LOUD 200 watt amp which became a favorite of many bassists of the era Appendix A Model Gallery Brit Silver Based on the 1987 Marshall Silver Jubilee a limited edition tube amp made to commemorate 25 years in the amp business 1985 Cali Crunch Based on the Drive channel of a Mesa Boogie Mark II C truly one of the first modern guitar amplifiers 1960 Class A 15 Based on Channel 1 of a wonderful Vox AC 15 The sound is similar to the more famous Vox AC 30 but this is a smaller amp Class A 30 Fawn Based on the Normal channel of a Non Top Boost Vox AC 30 This is definitely a good place to get classic British invasion sounds 1967 Class A 30 Top Boost Based on a Vox AC 30 Top Boost the amp made famous by many British invasion bands Connor 50 Based on a 2003 Cornford mk50h which is a fine British made boutique amplifier Criminal Based on the Lead channel of a 2002 Peavey 5150 MkII This is the tone Eddie Van Halen is known for Deit
69. ions this one is meant to be heard Line 6 Rich Chamber A rich chamber great for making that crunch tone even fatter Line 6 Slap Plate Reverb This reverb dishes up the vibe of early rock and roll recordings like Sam Phillips great work at Sun Studios Thank you very much All product names used hereon are trademarks of their respective owners which are in no way associated or affiliated with Line 6 These trademarks of other manufacturers are used solely to identify the products of those manufacturers whose tones and sounds were studied during Line 6 s sound model development Fender and Deluxe Reverb are registered trademarks of Fender Musical Instruments Corp Appendix A Model Gallery Line 6 Small Room As its name implies this reverb model will give you the kind of sound you d get when recording an amp that s mic d up in a small room Fortunately unlike the small rooms that you might have handy at home say this room has well tuned acoustics no traffic noise coming from the nearby street and you don t have to worry about the upstairs neighbors yelling Turn it down don t you hate it when people ruin a good take like that Line 6 Standard Spring Reverb One of the many things that people have loved about the blackface Fender Twin Reverb over the years has been its rich dense reverb sound The three spring tank offered a more complex sound than Fender s earlier spring reverbs and its wha
70. itar Cab Mic Models 28 Bass Amp Models 22 Bass Cab Models 4 Bass Cab Mic Models 6 Preamp Models 98 Effect Models The following pages will introduce you to these beauties and tell you a bit about them ee Guitar Cab Mics Model Name Based on 57 On Axis Shure SM57 On Axis 57 Off Axis Shure SM57 Off Axis 421 Dynamic Sennheiser MD 421 Mel 67 Condenser Neumann U67 Bass Cab Mics Model Name Based on 20 Dynamic EV RE 20 112 Dynamic AKG D 112 Tube 47 close Neumann U47 close mic d Tube 47 far Neumann U47 distant mic d All product names used hereon are trademarks of their respective owners which are in no way associated or affiliated with Line 6 These trademarks of other manufacturers are used solely to identify the products of those manufacturers whose tones and sounds were studied during Line 6 s sound model development Appendix A Model Gallery A2 Guitar Amp Models ANGEL P Ball Based on the 2002 ENGL Powerball a four channel amplifier We modeled channel 2 Soft Lead Bomber X TC Based on a 2002 Bogner Ecstasy this model covers a wide range of tone It s a really versatile amp from a really great guy Brit J 2000 2 Based on a 2003 Marshall JCM2000 with the front end driven by a Prescription Electronics Germ pedal 1964 Blackface Lux Based on Blackface Fender Deluxe Reverb the Holy Grail for many blu
71. le Setups 3 Set the first OUTPUTS page 1 4 inch jacks Outputs Mode Studio Direct Tone 1 Feed One Guitar Amp 1 Connect 1 4 inch output s to your amp or speaker system 2 Set the first OUTPUTS page 1 4 inch Outputs Mode Combo Front Combo Pwramp Stack Front or Stack PwrAmp Lows Focus Highs as desired Tone 1 On Tone Pan Center Tone 2 On Tone 2 Pan Center 3 Check your Master Volume 793 Select the loudest preset settings you intend to use e Play your instrument and turn Master Volume as high as you can without clipping the amp speakers you re feeding Feed Two Guitar Amps One for Tone and One for Tone 2 1 Connect the left 1 4 inch output to one amp and the right 1 4 inch output to the other 2 Set the first OUTPUTS page 1 4 inch Outputs Mode Combo Front Combo Pwramp Stack Front or Stck PwrAmp Lows Focus Highs as desired e Tone 1 On Example Setups Tone 1 Pan Full Left Tone 2 On Tone 2 Pan Full Right 3 Check your Master Volume Select the loudest preset settings you intend to use Play your instrument and turn Master Volume as high as you can without clipping the amp speakers you re feeding Feed Two Guitar Amps One Wet and One Dry 1 Connect the left 1 4 inch output to one amp and the right 1 4 inch output to the other 2 Set the first OUTPUTS page 1 4 inch Outputs Mode Combo Front Combo Pwramp St
72. lopment Fender Bassman are registered trademarks of Fender Musical Instruments Corp Appendix A Model Gallery Line 6 Tube Preamp This model was created to give POD X3 and POD X3 Live users a solution for plugging the output from an acoustic guitar s piezo pickup or a bass into POD X3 or POD X3 Live hardware It can also deliver some tasty tones with a standard electric guitar With the tone controls at 12 o clock the EQ is flat Adventurous recordists will find that it can even be used to add some tube warmth or distorted grind to just about anything warming up keyboards crunching up drums and fuzzing up vocals the way producers and engineers often do in the studio with vintage tube gear When you do this stuff you want to use the Drive control like a mix knob on a reverb to control how much processing you want to hear Line 6 Twang Here s the flip side of the Sparkle formula Graft the preamp and tone stack from our model based on a 65 blackface Deluxe onto the power amp and transformer based on a 58 Bassman Whaddya know It ends up being a great roots and rockabilly amp like we should be surprised Line 6 Variax Acoustic One of the great features of the Variax Digital Modeling Guitars from Line 6 are their models of acoustic instruments These sounds are best appreciated through a full range monitor or P A due to their high frequency content This Amp Model was created in order to allow the Variax s ac
73. market Fasel inductor the Q widened at the top end and the 100k pot replaced with a 470k pot to better match the original V846 specs Colorful This model is based on the wah part of a vintage Colorsound Wah Fuzz The Colorsound is different from the other wah pedals here in that it was an inductor less design For you non electronics minded folks this basically means that it used a different type of circuit to get its frequency resonance and would saturate distort in a different manner than the inductor based designs Conductor Based on the Maestro Boomerang According to the original Maestro advertising material this was not a wah wah pedal but a wow wow pedal Po tay to Po tah to In 1968 or so Maestro went to Richard Mintz of All Test Devices who had first become known for his design of a sustainer for Leslie West and hired him to redesign most of their effects units This pedal was Curtis Mayfield s choice for wah so it s perfect for R n B wacka wacka retro madness Fassel Based a Cry Baby Super made by Jen Electronics Jen Electronics in Italy manufactured wah pedals for many companies including Vox Thomas Organ Arbiter and others This particular pedal has the highly desireable mojo of the Fasel an Italian manufacturer of electronic components inductor Some have credited the unique saturation characteristics of the Fasel inductor to the fact that it was a really cheaply made component
74. molo circuit that was used in the blackface Fender amps like the 64 Deluxe Reverb Synth Analog Based on Moog and ARP style synth filters These are great for funky synth guitar or bass lines Phaser Based on the phaser that changed the world the relatively subtle MXR Phase 90 Synth Lead Based on the popular analog monophonic synth lead sounds from Moog ARP and Sequential Circuits All product names used hereon are trademarks of their respective owners which are in no way associated or affiliated with Line 6 These trademarks of other manufacturers are used solely to identify the products of those manufacturers whose tones and sounds were studied during Line 6 s sound model development MXR is a registered trademark of Dunlop Manufac turing Inc Fender Deluxe Reverb are registered trademarks of Fender Musical Instruments Corp Leslie is a registered trademark of Suzuki Musical Instrument Manufacturing Co Ltd Mu Tron is a registered trademark of Mark S Simonsen Boss is a registered trademark of Roland Corp Vox is a registered trademark of Vox R amp D Ltd 19 Appendix A Model Gallery Synth String Based classic string sounds like those found in the ARP Solina String Ensemble and the Elka Synthex U Vibe Based on the now legendary Uni Vibe a four stage phase shifter known for its watery texture and sultry tones 20 Line 6 Buzz Wave These are cool com
75. ncy transistor based clipping The result is a buzzing kind of distortion that has become popular again with the alternative and grunge set Jimi Hendrix was among the guitarists to popularize the Fuzz Face in the States but our model is considerably dirtier than All product names used hereon are trademarks of their respective owners which are in no way associated or affiliated with Line 6 These trademarks of other manufacturers are used solely to identify the products of those manufacturers whose tones and sounds were studied during Line 6 s sound model development Arbiter is a registered trademark of Arbiter Group Plc Marshall is a registered trademark of Marshall Amplification Plc Roland is a registered trademark of Roland Corp 7 Appendix A Model Gallery Aes the tones found on Are You Experienced Try playing Satisfaction by the Stones or the lead from American Woman by The Guess Who Liberal use of the Bass Mid and Treble controls will let you go beyond the tones that the Fuzz Face could deliver enabling you to discover your own unique recipe for those elusive fuzz tones in your head Just a note when recording Purple Haze Jimi didn t even use an amp he just went straight from a Fuzz Face to an Orange power amp to a 4x12 cabinet Which is the same sort of tone you get here Line 6 Insane Our goal here was to provide you with as much input gain distortion as possible short of complete meltd
76. ng it takes for the reverb to trail off Config allows you to choose the position of the Reverb in your signal flow Pre before the Amp Model or Post after the Amp Model Reference Tweaking Tones 5 12 Gate 58dB 3 9 0 HRESH DECAY The Gate effect helps eliminate unwanted noise when you re not playing and can be especially valuable when using high gain sounds Like a security gate it s supposed to quickly open to pass the things that you want and then swing closed to keep out the things that you don t want Thresh determines how loud your playing has to be to open the gate More negative numbers where the knob is near its fully counterclockwise setting mean that the gate will open and allow sound through even when you are playing quietly and less negative numbers where the knob is near its fully clockwise setting mean that the gate will only allow sound to pass when you are playing pretty hard Turn the Thresh all the way down to minimum to disable the Gate Thresh s value will then be off Decay determines how fast the gate will swing closed Like a gate in the real world a fast decay means the gate might catch your trailing foot as you pass through in this case that means the gate will chop off the decay of your notes And a slow decay means that as the gate swings slowly closed behind you someone might have time to slip through behind you in this case that would be the unwanted noise that you
77. o another device s MIDI OUT Chapter 6 has info on setting your MID Channel for communication EL USB 2 0 POD X3 Live s USB 2 0 jack lets you connect directly to a USB 2 0 equipped computer and take advantage of many computer powered features Line 6 Monkey software makes it easy to install software and get updates Install driver software with Line 6 Monkey and POD X3 provides 8 audio inputs to your computer via USB 1 2 is the main signal configured on POD X3 s Outputs page for Digital Outs 3 4 is Tone 1 separately in stereo 5 6 is Tone 2 separately in stereo 7 is the sum of the inputs you ve chosen for Tone 1 8 is the sum of the inputs you ve chosen for Tone 2 Controls amp Connections You can also connect your headphones or powered speakers directly to POD X3 to hear your computer generated audio along with POD X3 s real time processing See Chapter 8 for more info Power Connect the included PX 2 power pack and flip the switch here to bring your POD X3 Live to life Join the Club Visit www line6 com club to register online and join the All Access club the place to 3 15 get Free iTunes and MP3 Jam Tracks Free loops for GarageBand Acid Reason and more Free guitar lessons from LA session pros Free chord and scale practice tools e Stay informed of contest and special offers Access to discussion forums software updates and more Getting Around Tones amp Tun
78. olos of the 50 s were recorded one of Boogie s more modern it all instant rock and roll through a Champ high gain amps tone All product names used hereon are trademarks of their respective owners which are in no way associated or affiliated with Line 6 These trademarks of other manufacturers are used solely to identify the products of those manufacturers whose tones and sounds were studied during Line 6 s sound model development Fender Bassman Champ Deluxe Reverb Dual Showman are registered trademarks of Fender Musical Instruments Corp Gretsch is a registered trademark of Fred W Gretsch Enterprises Ltd JBL is a registered trademark of Harman International Industries Inc Marshall is a registered trademark of Marshall Amplification Plc Mesa Boogie and Rectifier are registered trademarks of Mesa Boogie Ltd Silvertone is a registered trademark of Samick Music Corp Supro is a registered trademark of Zinky Electronics Appendix A Model Gallery A 6 Line 6 Agro An aggressive high gain amp with a unique Mid control that will take you though the entire gamut of tone on one knob How did we do it The mid knob for this model changes the character of the distortion When set to minimum the distortion exhibits Fuzz pedal characteristics When the Mid is set to noon it creates creamy modern high gain amp tones a la Soldano And when the Mid knob is turned up to Max it s very much reminiscent of that Class A Vox sound Of 2001
79. on Mac POD X3 and POD X3 Live provide 8 audio inputs to your computer 1 2 is the main signal configured on POD X3 or POD X3 Live s Outputs page for Digital XLR Outs 3 4 is Tone 1 separately in stereo 5 6 is Tone 2 separately in stereo e 7 is the sum of the inputs you ve chosen for Tone 1 e 8 is the sum of the inputs you ve chosen for Tone 2 USB amp Computer Software 5 The 7 and 8 inputs are perfect as raw sources for plug in processing See www line6 com gearbox_plugin for info on our POD X3 equivalent plug in 6 Connect your headphones or powered speakers directly to POD X3 to hear your computer generated audio and well as POD X3 s real time processing The Monitor level adjustment slider in the control panel lets you turn down the volume of POD X3 or POD X3 Live versus your computer generated sound The Master Volume knob on POD X3 or POD X3 Live does NOT affect the USB or S PDIF output levels Sample rate and other settings can be made from your recording program the Line 6 Audio MIDI Devices control panel the Windows control panels and or Mac OS X s Applications gt Utilities gt Audio MIDI Setup The Dig SR and DigLvl features on the first OUTPUTS page of POD X3 and POD X3 Live apply to the S PDIF output only 893 Appendix A Model Gallery APPENDIX GALLERY POD X3 and POD X3 Live include the following Models 78 Guitar Amp Models 24 Guitar Cab Models 4 Gu
80. ou warm up any sound source the way producers and engineers often do in the studio with vintage tube gear With the tone controls at 12 o clock the EQ is flat All product names used hereon are trademarks of their respective owners which are in no way associated or affiliated with Line 6 These trademarks of other manufacturers are used solely to identify the products of those manufacturers whose tones and sounds were studied during Line 6 s sound model development Supro is a registered trademark of Zinky Electronics Appendix A Model Gallery Bass Cabinet Models Model Name Based on Green 20 17 Cab You will probably want to use this Cabinet model with the Tube Preamp model for non guitar sources It is selected by default when you pull up the Tube Preamp Amp Model All product names are trademarks of their respective owners which are in no way associated or affliated with Line 6 These product names descriptions and images are provided for the sole purpose of identifying the specifc products that were studied during Line 6 s sound model development Ampeg and SVT are registered trademarks of St Louis Music Inc SWR Sunn Fender Dual Showman and Bassman are registered trademarks of Fender Musical Instruments Corporation Mini Brute is a registered trademark of Pamco Enterprises Inc Mesa Boogie is a registered trademark of Mesa Boogie Limited Vox is a registered trademark of Korg Europe Limited
81. ou which of the Presets in the current User Bank is running You can step on any of them to choose a different preset Controls amp Connections Hold for Tuner POD X3 Live allows you to control the time and speed of your Delay and or Mod effects by simply tapping on this footswitch Tap a few times here and the effects that are set to lock to that tempo will change to match what you tapped There s also a Tempo parameter in the effects 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 5 to learn how to set up effects to follow the tempo that you ve tapped Press and hold the Tap footswitch for 2 seconds to activate the tuner KKJ Drive controls how hard you re driving the input of the chosen Amp Model Like the input volume control on a non master volume guitar amp higher settings give you more dirt This knob along with the Tone Controls Verb and Tone Volume knobs adjusts the Tone that is currently selected Tone 1 or Tone 2 See Chapter 4 for more info on Dual Tone and how this all works Tone Controls Bass Mid Treb Pres Just like any guitar amp And when you change Amp Models the response and interactivity of these controls change too so they act like the tone controls of the original amp that inspired the Amp Model you ve selected Reverb Spin this knob to set the Re
82. oustic models to sound as full range as possible through the speakers of typical guitar amps This can come in handy when you re using an acoustic model from a Variax and listening to it through a guitar amp s speakers Keep in mind that since this model provides a large amount of high frequency boost to compensate for the natural roll off of typical guitar speakers and overdriving a model playing an acoustic guitar is not usually a desired thing this model will likely appear softer than most of its compatriots If you need more gain the Drive knob can be used to add some tube preamplification All product names used hereon are trademarks of their respective owners which are in no way associated or affiliated with Line 6 These trademarks of other manufacturers are used solely to identify the products of those manufacturers whose tones and sounds were studied during Line 6 s sound model development Fender Bassman Deluxe Reverb are registered trade marks of Fender Musical Instruments Corp Mesa Boogie and Rectifier are registered trademarks of Mesa Boogie Ltd Ael l Appendix A Model Gallery Guitar Cabinet Models Model Name Based on 1 6 Super 6x9 Supro 6616 1 8 Tweed 1961 Fender Tweed Champ 1 10 Gibtone 1 10 Gibson Ix10 G Brand Gretsch 6156 2 Line 6 Line 6 Ix12 1 12 Tweed 1953 Fender Tweed Deluxe Ix12 Blackface 1964 Fender Blackface Deluxe 2 Class 1960 Vox AC 15 Ix15 Thunder
83. output of solidbody electrics that have one of those newfangled bridges with the acoustic pickup built in Since you don t have to worry about the body shaking itself to pieces with feedback on that type of guitar we ve cooked up this model with more low mids and low frequencies Line 6 Purge Like 80s shred guitar Well then you re gonna love Line 6 Purge We took our model of a Marshall amp JMP 1 preamp and hot rodded it It was hard work sticking in that digital dual overhead cam and hooking up the virtual glasspacks but when we were done we had the ultimate shred machine Look out world here you come Line 6 Smash Got an axe to grind Dial up Smash to take it way over the top with an obscene helping of gain Smash delivers a tight bottom end and a serious mid range void that ll render Hi Fi butt kicking rhythm tone every time Line 6 Sparkle We love tweed Fender s We love blackface Fender s We love em both so much we can never really decide which one we like more Luckily we were able to come up with the perfect way to share the love We took the preamp and tone stack from our model based on the 58 Tweed Bassman and we wired in the virtual world our model of a blackface Bandmaster power amp and transformer onto it Voil Line 6 Sparkle Line 6 Sparkle Cln Need Lots of Sparkle Need lots of clean You ve come to the right place Plenty of high end zing All product names used hereon are trademarks of thei
84. ow mid frequency Hi Mid amp Freq High mid tone control level and frequency HMid turn to choose 1x or 10x the high mid frequency Hi Pass high pass filter frequency Lo Gn amp Fq low frequency shelving tone control level and frequency Lm Gn amp Fq low mid peaking tone control level and frequency Mid Gn amp Fq mid peaking tone control level and frequency Hm Gn amp Fq high mid peaking tone control level and frequency Hi Gn amp Fq high frequency shelving control level and frequency Reference Tweaking Tones 54 Stomp Boxes DISTORTION KILLER Z 1 16 75 50 60 Y G O OQ DRIVE GAIN CONTR MID 50 MID FQ What guitarist doesn t like Stompboxes POD X3 and POD X3 Live include an arsenal of amazing sounding Distortion Dynamics and Filter Stomp Box Models lovingly crafted after a whole carpet full of the greatest effects of guitar history Quick descriptions for the various parameters that appear for different Models are listed below Select Knob turn to pick a Stomp Box model Distortion Stomp Boxes Drive Gain amount of distortion overdrive grind gain Tone overall effect tone control Contr on Killer Z adjusts the contour of the tone Mid mid tone control Treble treble tone control Bass bass tone control Blend on the Bronze Master adjusts the blend of tonal elements Mid Fq selects middle frequency for tone adjustment Reference Tweaking Tone
85. own You get ridiculous rich tube drive to shame the distortion of pretty much any amp on the planet sort of like a Mesa Boogie Dual Rectifier on 10 being used as a preamp for a Soldano while still retaining tonal definition and character As a result you ll enjoy lots of bottom end and cabinet character with tons of wide ranging tone shaping Crank up the Drive and take no prisoners Line 6 JTS 45 Since the design of early Marshall s was based on the Fender Tweed Bassman circuitry we wondered what it would be like if we took the preamp and tone stack of our JTM 45 and ran it into the power amp and transformer of our 58 Tweed Bassman What we got was way happening as JTS 45 will attest Great grind and nice punch A tone the whole family can enjoy Line 6 Lunatic High gain with lots of high mids and no mud Great for layering with other amps to cut through on the high end A wide range of top is available with the Treble and Presence controls maybe to the edge of lunacy Line 6 Modern Hi Gain Based the POD 2 0 model of the Soldano X88R The Soldano sound is intensely overdriven and also has EC after the preamp distortion This oversaturated tone is well suited to thrash metal and grunge bands but has also been used more subtly by artists like Eric Clapton This is a good Amp Model to use if you want to get a current Van Halen or Joe Satriani sound The Modern Hi Gain Amp Model is based on one of Mike Soldano s ra
86. pective owners which are in no way associated or affiliated with Line 6 These trademarks of other manufacturers are used sole ly to identify the products of those manufacturers whose tones and sounds were studied during Line 6 s sound model development Arbiter is a registered trademark of Arbiter Group Plc Big Muff Pi and Electro Harmonix are registered trademarks of New Sensor Corp Ibanez is a registered trademark of Hoshino Inc Maestro is a registered trademark of Gibson Guitar Corp Tube Driver is a registered trademark of Butler Audio Inc Boss is a registered trademark of Roland Corp Tube Screamer is a registered trademark of Hoshino Gakki Co Ltd Appendix A Model Gallery 24 Line 6 Auto Also known as a panner this effect makes your sound go back and forth between the left and right channels Sure to keep you up late at night Line 6 Auto Swell This effect is an envelope generator similar to the Boss SO 1 Slow Gear and other pedals Each note or chord that you play ramps up You can dial in the ramp time here to give you the kind of bowed attacks that might otherwise require you to have your pinky rolling the volume knob on your guitar with every pick attack Longer ramp times in combination with delay and reverb can keep you occupied for a pleasant hour or two seeing what kind of chords you can come up with to blend into each other You ve got Ramp time to set over how long the swell takes to happen plus Depth
87. puts page is where you assign whether this input feeds Tone 1 Tone 2 or both See Chapter 6 for more info EI S PDIF Out This jack sends out 24 bit digital versions of the Left amp Right 3 5 Controls amp Connections 3 6 Outputs The System setup page lets you choose the sample rate and adjust the level See Chapter 6 for the scoop USB 2 0 POD X3 s USB 2 0 jack lets you connect directly to a USB 2 0 equipped computer and take advantage of many computer powered features Line 6 Monkey software makes it easy to install software and get updates Install driver software with Line 6 Monkey and POD X3 provides 8 audio inputs to your computer via USB e 1 2 is the main signal configured on POD X3 s Outputs page for Digital Outs e 3 4 is Tone 1 separately in stereo 5 6 is Tone 2 separately in stereo 7 is the sum of the inputs you ve chosen for Tone 1 8 is the sum of the inputs you ve chosen for Tone 2 You can also connect your headphones or powered speakers directly to POD X3 to hear your computer generated audio along with POD X35 real time processing See Chapter 8 for more info FBV Pedal Connect an optional foot controller here including the FBV FBV Shortboard and FBV Express The System page lets you set it all up See Chapter 6 for details Note that POD X3 does not work with the older Line 6 Floor Board or FB4 EE Left amp Right Outputs These balanced 1 4 inch TRS tip
88. r me came from everyone from Massive Attack to Dr Dre DeAngelo to Aphex Twin King Tubby to Future Sound of London and all other champions of the ultra low Thanks Justin we couldn t have said it any better Line 6 Super Thor If you were in a roomful of vintage gear an open back little ol combo amp is probably the last thing you d choose to play your bass through right Well its one of the first we plugged into but we like doing the unexpected Anyway this tough little cookie we call the Super Thor is based on the Supro Thunderbolt the bass minded love child Line 6 and the infamous Supro S6616 of early Led Zeppelin fame Our very reliable sources also tell us that Jimi Hendrix occasionally played through a Supro Thunderbolt We figured that if that little amp mic d up right in a studio could churn out big guitar tones for the big Jim s maybe a bass loving cousin could do something similarly huge for us After you ve dialed in a tone to your liking notice that the harder you hit your strings the more fuzz on the peach We ve also found that Super Thor adds a very warm character to the Synth Filter models Line 6 Tube Bass Preamp The thinking went like this Once people get this POD thing it s gonna be so great that they re gonna wish they could use it for everything warming up keyboards crunching up drums fuzzing up vocals We ve gotta give em something to do that with So we did Tube Preamp lets y
89. r respective owners which are in no way associated or affiliated with Line 6 These trademarks of other manufacturers are used solely to identify the products of those manufacturers whose tones and sounds were studied during Line 6 s sound model development Marshall is a registered trademark of Marshall Amplification Plc A 9 Appendix A Model Gallery 10 Line 6 Spinal Puppet You know how when you re playing head bangin music you look out into the audience and see all those heads bobbing up and down Those are Spinal Puppets Need we say more Line 6 Super Clin Forget what you know about how clean or how bright a guitar amplifier can go Line 6 Super Clean goes farther adding a lot of brightness While this model certainly is Clean it has two other fun tricks up its sleeve as well Setting the Drive knob at max gives a really broken small amp on 10 about to die sound FUN And the bass knob has an extreme effect when set to minimum for sweet AM radio sounding tone Caution Because Super Clean adds so much brightness it generally won t work so well with distortion pedals since they usually add lots of high frequencies too The combination may produce unnatural artifacts or just rip your head off Plug an undistorted guitar in here though and we re talking super happy shiny bright Line 6 SuperSpark You know how all great amps have a certain sweet spot a particular setting where they sound magical
90. re USB amp COMPUTER SOFTWARE Updating POD X3 or POD X3 Live s Firmware Here are step by step instructions for making sure your POD X3 or POD X3 Live has the latest firmware installed 1 From www line6 com monkey download and install the latest version of Line 6 Monkey Run Monkey If this is the first time you run Monkey you don t yet have driver software installed so Monkey won t be able to communicate with your POD X3 or POD X3 Live And if you have an older version of Monkey it also may not show your POD X3 or POD X3 Live in its list of products when it asks you to select your product manually If POD or POD Live is not shown as a product selection select any TonePort from the product select menu that Monkey will show as it starts up Once Monkey finishes start up login with the user name and password that you use for line6 com or click the New User button near the top of Monkey s window create a user name and password for line6 com and then use it to log in to Monkey On the Updates tab look to see if Line 6 Monkey itself is up to date Monkey is listed under Applications on the Updates tab A green circle with a checkmark is shown next to its listing if it s up to date If not highlight its line in the list of Items and click the Update button on the right Of course this shouldn t be necessary if you just downloaded the latest Once Monkey s up to date install the latest Line 6 drive
91. ring sleeve connectors are ready to rock with pro 4 dBu balanced equipment They will also work happily with unbalanced 10 dBV equipment and standard guitar cables If you need mono output you can use either one Controls amp Connections Join the Club Visit www line6 com club to register online and join the All Access club the place to get Free iTunes and MP3 Jam Tracks Free loops for GarageBand Acid Reason and more Free guitar lessons from LA session pros Free chord and scale practice tools 3 7 e Stay informed of contest and special offers Access to discussion forums software updates and more Controls amp Connections POD X3 Live ROPE ier RE TWAUT FRONS uer wi uox UE DIT Vui E7488 V TT TONE MASTER DRIVE BASS MID TREB PRES VERB VOLUME 3 8 DELAY Display The LCD liquid crystal display is your window into the power of POD X3 Live a Il see 2 types of pages in the display Home Page the Tone Path Home Page shows you all the digital processing blocks that are working to deliver your great tone For User Presets you can also switch to a Big User Home Page which shows you the bank and channel number where the preset is stored The tone names that are loaded in the current preset and the bank and channel number where the preset is stored are also displayed You can get to the Home Page at an
92. ross one before takes a filter sweep like the one on Sweep Echo chops it up into little bits and rearranges them semi randomly so that it sounds like sudden little bits of wah pedal randomly sprinkled about Crazy huh Make sure and get busy with the sweep speed and sweep depth Line 6 Digital Delay This model is a straight up digital delay with bass and treble tone controls Nothing fancy here just basic echo cho cho cho After all it s good to cleanse the palate every once in a while All product names used hereon are trademarks of their respective owners which are in no way associated or affiliated with Line 6 These trademarks of other manufacturers are used solely to identify the products of those manufacturers whose tones and sounds were studied during Line 6 s sound model development Electro Harmonix is a registered trademark of New Sen sor Corp Maestro is a registered trademark of Gibson Guitar Corp Boss is a registered trademark of Roland Corp Appendix A Model Gallery Line 6 Lo Rez Delay The first digital delay units were introduced in the early 80s These pedals and rack boxes took advantage of emerging digital technology to provide guitarists with longer delay times Unlike the 16 bit digital of today s CDs and the even higher resolution provided by some audio gear like the 32 Bit processing of your Vetta these early digital units generally had only 8 bit resolution Low bit resolution can create a unique sort
93. roximately 19 5 Volts peak to peak able to be used with stomp boxes or line level devices Use the Left Return jack for a mono return The Loop can run pre or post Amp Model and if nothing is connected to the loop POD X3 Live is smart enough to disable the loop so you still get sound See Chapter 5 for more details Variax Connect a Line 6 Variax guitar here for a direct digital audio connection between the guitar and POD X3 Live The Inputs page is where you assign whether this input feeds Tone 1 Tone 2 or both See Chapter 6 for more info Be sure to keep the protective plastic cap on this connection when it s not connected to a Variax so you won t damage it by mistakenly inserting a 1 4 inch guitar cable or other connection When you are ready to connect a Variax use only Line 6 supplied Variax compatible cables not standard Ethernet or other cables to avoid damage to the jack You can learn more about the Variax family of guitars each one giving you the sound of an entire guitar collection in one instrument at www line6 com S PDIF Out This jack sends out 24 bit digital versions of the Direct Out signals The System setup screen lets you choose the sample rate and adjust the level See Chapter 6 for the scoop Ei MIDI Connect POD X3 Live to your MIDI equipment to send and receive Program Change Messages for selecting Presets POD X3 Live s MIDI OUT connects to another device s MIDI IN its MIDI IN goes t
94. rs In the Updates tab highlight the Driver item and click the Update button on the right Monkey will lead you through the process which requires you to quit Monkey and possibly restart your machine Once the driver installation completes run Monkey again Make sure your POD X3 or POD X3 Live is powered on and connected to your computer via USB Monkey should automatically recognize your POD X3 or POD X3 Live and complete its startup 841 USB amp Computer Software 822 6 1 On the Updates tab look to see if your USB Firmware and Flash Memory up to date e If either one doesn t show a green circle with a checkmark highlight Device Firmware and click the Update button to the right Monkey will lead you through the process With your Driver and Device Firmware now up to date you re ready to rock Setting Up for USB Recording 1 2 After getting the latest versions and installing your driver dexcribed above Start your recording application Follow its instructions to select POD X3 or POD X3 Live as your audio device On Windows you ll probably want to configure POD X3 or POD X3 Live for ASIO operation For Windows the POD X3 and POD X3 Live driver control panel is at Programs gt Line 6 gt Tools gt Line 6 Audio MIDI Devices For Mac it s available from the Apple menu System Preferences gt Other gt Line 6 Audio MIDI Devices With ASIO on Windows or Core Audio
95. s Dynamics Stomp Boxes Sust varies the compression threshold Level adjusts the overall level Sens varies the effect s response to your playing Amount on Vetta Juice varies the ratio of compression Ramp for Swell effects sets the time it takes for your sound to ramp from quiet to loud Depth for Swell effects sets how much the volume of your attacks is reduced Frequency on De Essers chooses the frequency that s targeted for reduction 55 Amount on De Essers the amount of reduction applied to Frequency Filter Stomp Boxes Sens varies the filter s response to you playing adjusts the filter s width Decay sets how fast or slow the effect trails off Wave allows you to choose from among the effect s available waveforms Mix controls the ratio of wet effected to dry non effected sound that is heard Oct controls how loud you want the one octave down waveform 2 Oct controls how loud you want the two octaves down waveform Filter sets the corner frequency of the filter s low pass filter frequencies above this frequency are cut INTVLI chooses the first pitch interval of your original note played INTVL2 chooses the second pitch interval of your original note played Reference Tweaking Tones 5 6 Attack controls how long it takes for the effect to happen Pos represents the current angle of that pedal with 0 meaning the pedal is fully heel
96. s lots of beef so start shredding Line 6 Class A One of the most satisfying tonal experiences as a guitarist is to play through an amp that s driven to the point where the power amp is just starting to distort but before it achieves full clipping For many players this is the coveted sweet spot they look for on an amp Because we re not limited to physical reality when we re creating amps in the digital world our goal for this one was to make an amp model that was nothing but sweet spot One of the great side effects is the ease of coaxing feedback out of this one Line 6 Clean To create this Amp Model we essentially grafted the preamp and tone stack of a JC120 Roland s popular Jazz Chorus solid state combo onto the power amp and transformer of a classic Marshall JTM 45 tube head thereby giving you the crisp and clear front end typical of a solid state amp but with a rich satisfying tube amp style bite as you turn it up Line 6 Crunch Just like a good chef our Sound Designers are always experimenting with new recipes They added a pinch of plexi hardwired four inputs for increased gain and then rounded it off with a dash of Secret Sauce The result is this model really cooks Just turn up the Drive and tweak to taste Line 6 Fuzz Although not technically an amp we loved the unique tonal qualities of the classic 1960 s Arbiter Fuzz Face enough to base a special amp model on it This fuzz box used broad freque
97. s you adjust the delay anywhere from its normal sparklin pristine 32 bit resolution down to as few as 6 truly nasty bits Bear in mind that as you turn the knob clockwise you re reducing the bit resolution so maximum bit reduction is achieved when the knob is all the way up think of it as a more control for how many less bits you want Your direct sound of course stays full resolution Reference Tweaking Tones Reverb REVERB RICH CHAMBER 1 27 68 95 17 D 0 C29 PREDLY DECAY TONE MIX POST CONFIG When we set out to create POD X3 and POD X3 Live we devoted our fanatical modeling technology and energy for innovation to developing no compromise reverb effects The collection of reverb models emulate physical environments rooms and halls plate reverbs which traditionally feature a big steel plate with some sort of speaker driving it and usually multiple pickups to pick up the vibrations of the plate spring reverbs the kind guitar players know best and even a couple of unique new models that you ll have to hear to appreciate Sell Select Knob turn to pick a Reverb model Dwell for Spring reverbs determines how hard the virtual springs are driven the harder you drive them the longer the delay time Tone overall tone control Mix controls the ratio of wet effected to dry non effected sound that is heard Predly adjusts how long it takes for the reverb to kick in Decay adjusts how lo
98. signed a pedal to control Tweak this is where you pick the setting that you want to control The list of available settings is too long to list here turn the knob and see what you find COMPSW POD Live only Pick which processing block will be controlled by the Comp Boost footswitch Your choices are COMP AMP or LOOP MstVol POD X3 Live only Choose whether the Master Volume knob will control 1 4 Live Outputs only XLR Direct Outputs only or both All Outuputs When playing on stage with a POD X3 Live you may find it valuable to have the Master Volume affect your 1 4 inch outs only so you can tweak on stage levels as needed without altering the levels that you re sending to the house sound system SYSTEM Page 2 Pedal and other settings From the first SYSTEM page pressing down on the 4 way Nav takes you to page 2 when the firmware version and USB version and electronic serial number ESN of your unit are displayed along with MIDI Ch POD Live only Choose from MIDI Channel 1 16 or select Omni to have POD X3 Live respond to all MIDI channels while transmitting on Channel 1 When program change messages 0 127 are received POD X3 Live will recall User Presets 01A 32D and it will send those same program changes as presets are selected from the POD X3 Live It also echoes all program change messages it receives so they can be connected thru to another MIDI device Contrst Set the contrast of the POD X3
99. sired e Tone 2 Pan as desired 3 When using the 1 4 inch jacks also set the 1 4 inch OUTPUTS page Mode MATCH STUDIO DIRECT 4 Check your Master Volume Select the loudest preset settings you intend to use Play your instrument and turn Master Volume as high as you can without clipping the system you re feeding Example Setups Recording Tone amp 2 to Separate Mono Tracks 1 Connect outputs to your recorder e POD connect the 1 4 inch outs POD X3 Live the XLR outputs are recommended for live sound systems to provide a level that approximately matches a mic ed up amp You can also use them for recording into mic preamps or use the 1 4 inch outputs to get hotter line level outputs 2 Set the second OUTPUTS page Studio Direct Mix Tone 1 On Tone 1 Pan pan left Tone 2 On Tone 2 Pan pan right 3 When using the 1 4 inch jacks also set the first OUTPUTS page 1 4 inch 72 Mode MATCH STUDIO DIRECT 4 In your recording system assign those outputs to separate recording tracks Recording Tone amp 2 to Separate Stereo Tracks POD X3 Live only 1 Connect the 1 4 inch left right outputs to your recorder as the source for the first track and the XLRleft right outputs as the source for the second track 2 Set the second OUTPUTS page Studio Direct Mixer Mode Studio Direct Tone 1 Off Tone 2 On the XLRs will output Tone 2 only e Tone 2 Pan Center Examp
100. ss to enter the processing block s Edit page where you can fine tune the parameters for that block Controls amp Connections Press the Home button to leave the Edit page and return to the Home Page Chapter 5 gives you details on all the Edit pages available 7 Outputs Hold for System Press to enter the Outputs setup page where you can set up POD X3 for whatever you re connecting it to This is a very important step for getting the best sound out of your POD X3 Press and hold for 2 seconds to enter the System setup page Full details are in Chapter 6 Multi function Knobs Turn any one of these knobs to adjust the corresponding parameter in the display PARAMETRIC EQ 50 22 0 LOGN LMFQ 28 50 51 50 HM FQ HMGN HIF wa See Chapter 4 to learn about Home Page functions for these knobs 9 Keypad These buttons allow you to do the following Tone 2 Hold for Dual Press to toggle between Tone 1 and Tone 2 you re editing Tone 2 when the button is lit Press and hold to turn Dual Tone on or off See Chapter 4 for more details Amp Stomp Mod Delay Verb Press to turn the Amp Stomp Mod Delay and Reverb processing blocks on or off the blocks are on when the buttons are lit Double press one of these buttons to tweak the block For example just press the Stomp button two times quickly and you re instantly taken to the Stomp Box Edit Page Press the Home button to leave the Edit
101. sser The Male De esser should be your first choice for controlling the Sss and Shh sounds of male vocalists although as with all things musical you may find many uses for it and may find that for some female vocalists it works better than the Female De Esser For general information on De Essers see the Set the De Esser topic in the How To section Technically savvy users will want to know that this is a standard insert style de esser performing gain reduction on the full bandwidth audio signal Appendix A Model Gallery Line 6 Sub Octaves All bassists know that in just about every musical situation lower can be better But we couldn t just let bass players have all the fun so we ve included an Octave device Your Sub Octave gets you down into booty shaking territory mighty quick Use it to create additional voices below what you re playing Remember lower can be better especially when it makes the booty shake Line 6 Vetta Comp This effect is taken from the Vetta II Line 6 flagship guitar amplifier 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 Line 6 Vetta Juice A Line 6 original originally created for our flagship Vetta II guitar amplifier
102. t drive the XLR and other outputs 6 3 Reference Configuration amp Setup 6 4 OUTPUTS Page 2 Studio Direct Mix STUDIO DIRECT MIX TONE1 PAN TONE2 MATCH STUDIO DIRECT 48KHz 12dB S PDIF S PSR This mix provides POD s legendary direct recording sound ideal for connecting direct to a mixer recorder PA or headphones for Studio Mode sound The headphone and USB 1 2 outputs always get this mix For POD X3 Live this also always feeds the XLR Direct Outs The 1 4 inch outputs can get this mix too when desired See next page Tone 1 allows you to either turn On or Mute Tone 1 Pan sets the location of Tone 1 in the stereo field Tone 2 allows you to turn On or Mute Tone 2 Pan sets the location of Tone 2 in the stereo field S PDIF sets the signal for the S PDIF output There are four options Match Studio Direct S PDIF outputs the Tone and Pan settings as shown Studio Direct Tone 1 S PDIF outputs Tone 1 only panned center Studio Direct Tone 2 S PDIF outputs Tone 2 only panned center Dry Inputs S PDIF Left outputs the unprocessed input s to Tone 1 and S PDIF right outputs the unprocessed input s to Tone 2 S P SR affects the S PDIF output only setting the 24 bit S PDIF signal s sample rate to 44 1 48 88 2 or 96 kHz S P Lvl affects the S PDIF output only adding up to 12 dB of gain This can be useful Reference Configuration amp
103. t this model is based on Go find yourself a bevy of bikini clad beauties wax up your board and dig in Line 6 Tiled Room Think of this one as recording your guitar in the hall bathroom that porcelain has always made for great reverb and lots of classic recordings were done by making the saxophone player stand in the necessary and wail Or at least that s what they told them Sax players can be so naive Line 6 Vintage Plate A classic plate reverb that you won t forget All product names used hereon are trademarks of their respective owners which are in no way associated or affiliated with Line 6 These trademarks of other manufacturers are used solely to identify the products of those manufacturers whose tones and sounds were studied during Line 6 s sound model development Fender and Twin Reverb registered trademarks of Fender Musical Instruments Corp 31 Appendix A Model Gallery 32 Wah Models Chrome Based on a Vox V847 This pedal was a reissue of the original 1967 Vox V846 wah pedal which was the successor to the original Clyde McCoy wah Clyde McCoy was a trumpet player who had asked Vox to make an effect that would make a keyboard sound like you were using a plunger mute on it Guitar players everywhere thank him Chrome Custom Based on a modded Vox V847 that belongs to one of the Line 6 crew This pedal had the gain staging on the first transistor stage tweaked a after
104. ted cab loaded with JBL s power line ups throughout the recognizable and popular of all it all instant rock and roll 60 s and 70 contemporary bass amps tone Line 6 Brit Invader Since Class A amps overdrive differently than their Class B cousins we just had to jack our trusty basses into our favorite Vox AC 30 Top Boost Out of respect for those ultra rare blue back speakers and fear of the repercussions of blowing one of em we set our beloved Vox on top of a Marshall Major 4x15 cabinet We happily found this unlikely combination produced a very furry tone that readily responds to any tonal adjustments you may make on your bass or this model And with a little tweaking we went from a top end that could cut through anything to a pleasurable vintage woofyness that would make Joe Meek proud Line 6 Classic Jazz Join us for a moment in contemplation of the Roland JC120 If you think about it it s easy to follow our logic it s an amp that has a great reputation for cleanliness and accuracy Now aren t those two tonal characteristics often sought after by All product names used hereon are trademarks of their respective owners which are in no way associated or affiliated with Line 6 These trademarks of other manufacturers are used solely to identify the products of those manufacturers whose tones and sounds were studied during Line 6 s sound model development Ampeg and SVT are registered trademarks of St
105. tgrown his Vox T 60 Alchemist Based on an Alembic F 2B preamp which delivers world class tone to bassists engineers and record producers everywhere Brit Major Based on a Marshall Major paired with a 16 Marshall 4x15 cab unique and awesome sound Amp 360 Based on an early 705 Acoustic 360 as used by Larry Graham John Paul Jones and Jaco Pastorius California Based on Mesa Boogie Bass 400 which has been the mainstay of Boogie s bass line for over a decade Eighties Based on a Gallien Krueger 800RB bass amp which produces a very scooped sound and doesn t really distort Based on an Flip Ampeg B 15 Portaflex one of the most popular studio bass amps of all time Hiway 100 Based on a Hiwatt DR 103 a powerfully clean guitar amp that would often find its way into a bass rig and do the job just fine Appendix A Model Gallery Brit Bass Based on a 1968 Marshall Plexi Super Bass Brighter than the Major it sounds fuzzier with higher Drive settings Double Show Based on a 1967 Fender Dual Showman the rig of choice for many a classic Rock and Roller E 13 Hiway 200 Based on Hiwatt 200DR Imagine a brighter SVT with a little more attack and you ve got this monster All product names used hereon are trademarks of their respective owners which are in no way associated or affiliat
106. to determine how much the volume of your attacks is reduced Line 6 Bender Pitch Effect This effect lets you control achange of pitch using the POD X3 Live pedal or an FBV pedal connected to a POD X3 You can set one amount of pitch shift for the heel position of the pedal and another amount of pitch shift for the two then rock on the pedal to change pitch from one setting to another Line 6 Boost EQ The name pretty much says it all This is a stompbox compressor that also provides you with some EQ controls so you can further shape the tone Since this EQ is applied before the amp processing it has a different tonal effect especially if you re using a strongly overdriven Amp Model than it would if applied with the dedicated EQ block of POD X3 processing Many players in fact rely on stompbox EQ like this to get their specially tailored sound from their amp Line 6 Female De Esser The Female De esser should be your first choice when taming the Sss and Shh sounds of female vocalists although as with all things musical you may find many uses for it and may find that for some male vocalists it works better than the Male De Esser For general information on De Essers see the Set the De Esser topic in the How To section Technically savvy users will want to know that this de esser performs its gain reduction only on the selected frequency band unlike the more typical insert style De Essing of the Male De Esser Line 6 Male De E
107. torted bad sound Try reducing the output level of the device that s feeding your POD X3 or reducing the Tone Volume for Tone 1 or Tone 2 or the volume of Tone 1 Tone 2 that can be adjusted from the right knob below the Home Page Direct Out Ground Lift This switch lets you lift the grounds of POD X3 Live s XLR Direct Outs This can be handy if you get an audible hum caused by a ground loop when connecting to other grounded equipment Live Out Level This switch sets the level for the Live Outputs When set to Amp the Live Outputs are ready for connection to an on stage amp When set to Line they re ready to plug into a mixer or recorder with line level inputs Guitar In Pad The Off setting of this switch is appropriate for most guitars If you see the Clip light coming on that means you re overloading POD X3 Live s input If that happens frequently try the On setting here This switches in input circuitry that s appropriate for hotter signals output by some guitars with active pickups or from keyboards and other sources Onboard Pedal The lights to the left of this pedal show whether the pedal will operate the Wah effect Volume Pedal or when both lights are lit Tweak When operating the Wah you can press hard with your toe at the top of the pedal and the wah as well as the wah light to the left of the pedal will turn on and off To learn how to change what the pedal controls see pa
108. ttings All product names used hereon are trademarks of their respective owners which are in no way associated or affiliated with Line 6 These trademarks of other manufacturers are used solely to identify the products of those manufacturers whose tones and sounds were studied during Line 6 s sound model development LA 2A is a registered trademark of Universal Audio Inc Flow ignal wur 8109110 8108110 HJNI t L dINVYMd YO INDUS WOVLS 081 02 asn NETTE RET NOLLWINWIS AIad s WANVAdS WOOU DIN sououd 1O3uIq oranis XIN 193910 010118 UTX ml 1504 GUA oes 52225 89 1 15 4 4 asoa zl 1sOd GOW q 1sOd L zZ Gd TOA g iv z 4 xe 33353 1 1SOd aud 4 H1O8 LON to H108 LON C3NOLWO INOL C 3NOLYO 3NOL soa t SOdAud f C doo1 doO1 1504 GOW LSOd aud lt 5 A e x 150 4 15043 4 4 oo 88885 ae dOO1 A 1509 DLE ice ee ee TOA Z 35 361 f alvo i jt dNOD 975 9999 A I3NOL Flow ignal Appendix Mid 23NOL Mud LINOL Youl p LINOL 1010115 1980 19310 HOLY
109. udio Direct Tone 1 On Tone 1 Pan as desired Tone 2 On e Tone 2 Pan as desired Example Setups e Tone 2 Pan as desired 5 Check your Master Volume Select the loudest preset settings you intend to use Play your instrument and turn Master Volume as high as you can without clipping the amp speakers you re feeding Electric Guitar to On Stage Amp amp Direct Out Vocals Acoustic etc to Direct Out Only 1 Connect your electric guitar to Guitar In 2 Connect your microphone to the Mic in or your acoustic etc to the Aux input 3 On the INPUTS page e Tone 1 Guitar 7 6 Tone 2 select the inputs you re using for your Mic acoustic etc 4 Connect 1 4 inch output s to your amp or speaker system 5 Connect XLR output s to your recorder mixer or PA 6 On first OUTPUTS page 1 4 inch outputs Mode Combo Front Combo Pwramp Stack Front or Stck PwrAmp Lows Focus Highs as desired Tone 1 On Tone 1 Pan center Tone 2 Mute so your vocal acoustic etc doesn t go to your on stage amp 7 On second OUTPUTS page Studio Direct Mix Mode Studio Direct Tone 1 On Example Setups Tone Pan Left Tone 2 On Tone 2 Pan Right 8 Check your Master Volume Select the loudest preset settings you intend to use Play your instrument and turn Master Volume as high as you can without clipping the amp speakers you re feeding 7 7 USB amp Computer Softwa
110. uires a stereo output to do its stuff It has two separate channels of delay with the output of each channel flowing into the other going back and forth like a game of ping pong The time knob sets the time for the left side delay line The offset knob sets the time for the right side delay line as a percentage of the left delay s time And spread sets the stereo spread of the delays from mono to hard panned left and right Sound too tricky Just use the Time knob or Tap Tempo Button if you want to set that up to set the longer delay time you hear and then turn offset to adjust the shorter delay time If you set offset straight up at 12 o clock your left and right delays are evenly spaced Then once All product names used hereon are trademarks of their respective owners which are in no way associated or affiliated with Line 6 These trademarks of other manufacturers are used solely to identify the products of those manufacturers whose tones and sounds were studied during Line 6 s sound model development Uni Vibe is a registered trademark of Dunlop Manufacturing Inc 27 Appendix A Model Gallery 28 you ve got your delay times set use the spread knob to adjust where the delay repeats appear in the stereo field Line 6 Reverse Delay seltaeB eht dna xirdneH imi 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 s
111. uitar Variax or Guitar Variax Aux Tone 2 pick an input to get routed to Tone 2 For POD X3 you can choose Same as Tone 1 Guitar or Microphone For POD X3 Live you can also choose Aux Variax Guitar Aux Guitar Variax or Guitar Variax Aux Reference Configuration amp Setup Outputs Pressing the Outputs button gets you to the first of two Outputs pages 1 4 INCH OUTPUTS COMBO 1 FRONT 50 570 HZ 50 MODE LOWS FOCUS HIGHS TONE1 PAN TONE2 Press the 4 way Nav Left and Right to move between this and page 2 622 OUTPUTS Page 1 4 Outputs this is where you set up the 1 4 inch outputs on both POD X3 and POD X3 Live Mode Turn this knob to pick from Studio Modes for direct connections to a mixer recorder PA or headphones Match Studio Direct the 1 4 inch jacks output the Studio Direct Mode Mix set on the second OUTPUTS page Studio Direct Tone 1 the 1 4 inch jacks output Tone 1 only panned center with Studio Mode processing Studio Direct Tone 2 the 1 4 inch jacks output Tone 2 only panned center with Studio Mode processing Live Modes for feeding a guitar amp without speaker mic room simulation and with a set of controls for on mute and pan for Tone 1 and Tone 2 that is independent from the Studio Direct Mix settings Combo Front use this to jack into the instrument in of a combo guitar amp Combo Pwramp use this
112. ut These balanced XLR connectors always provide studio quality sound with speaker microphone room simulation ideal for direct recording and as a direct send to the house mixer or PA when playing live As detailed in Chapter 6 the System page lets you disable Master Volume control for these outputs so you can make on stage adjustments to the 1 4 inch outputs feeding and amp without affecting the levels sent to the house sound mixer or PA EL Phones Plug your headphones in here to avoid noise complaints from the neighbors or the rest of your family The volume is set by the Master Volume 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 a Master Volume knob setting of about 10 o clock to start them turn up from there if you need more volume Aux Input This mono unbalanced 1 4 inch input can be used for a second guitar or just about any other instrument The Inputs page is where you assign whether this input feeds Tone 1 Tone 2 or both See Chapter 6 for more info Input and Trim Plug in your microphone here and use the Trim control to get a nice healthy level The Inputs page is where you assign whether this input feeds Tone 1 Tone 2 or both See Chapter 6 for more info Effects Loop The effects loop provides a mono send and stereo return 3 13 Controls amp Connections 3 14 operating at app
113. verb level of the Tone that is currently selected Tone Volume This knob controls the relative volume level of the current Tone 1 Master Volume This controls the overall output level of POD Live and also sets the headphone level Changing the Master Volume level does not change your tone so you can get the tone you want at any volume level This setting is not saved when you store settings into one of the POD X3 Live s memory locations POD X3 Live will generally give the best signal to noise performance when you have the Master Volume control at max With the Master Volume control turned down low you may get extra hiss which obviously isn t what you want if you turn up your mixer or recorder s output to compensate In order to allow you to set the Master Volume as high as possible when connecting to recording mixing and other studio gear be sure you are plugging POD Live s 1 4 inch outputs into line level not microphone 3ell Controls amp Connections 3 12 or guitar level inputs Line level inputs should allow you to turn POD X3 Live s Master Volume up all the way or close to it and thereby get the best sound possible If your gear has inputs that function as mic line level inputs try to set the trim for those inputs to the minimum level and POD X3 Live s Master Volume to maximum when setting levels Clip Light This lights when clipping is detected which generally means unpleasantly dis
114. y Crunch Based on a 2003 Diezel VH4 the Ducati of high performance guitar amplifiers Our model captures channel 3 on this beauty Deity Lead Based on Channel 4 of a 2003 Diezel VH4 it has even more gain than Channel 3 Crunch All product names used hereon are trademarks of their respective owners which are in no way associated or affiliated with Line 6 These trademarks of other manufacturers are used solely to identify the products of those manufacturers whose tones and sounds were studied during Line 6 s sound model development 5150 II is a registered trademark of E L V H Inc Orange is a registered trademark of Orange Personal Communications Services Ltd Peavey is a registered trademark of Peavey Electronics Corp Vox is a registered trademark of Vox R amp D Ltd Appendix A Model Gallery 4 Deity s Son Based on a 2003 Diezel Herbert a unique amp that achieves incredibly wide range of tone on a single channel Gibtone Expo Based on a 1960 Gibson Model GA 18T Explorer 14 watts with a 10 inch Jensen speaker Diamond Plate Channel 3 of a Mesa Boogie 2001 Triple Rectifer amp Solo Head Based Double Show Based on a 1967 Fender Dual Showman the tig of choice for many a classic Rock and Roller 1965 Double Verb Based on the classic Blackface Fender Twin Reverb We plugged into Input 1 of the Normal Channel for modeling 1973 Hiway 100 Based on
115. y sound or with the depth maxed you can simulate the sound of an alien spacecraft landing in one of those old 50 s sci fi movies 29 Appendix A Model Gallery 30 Reverb Models Line 6 Brite Room Reverb A live bright room to add life to any guitar track Line 6 Cavernous Reverb Okay so it does get bigger than Large Hall Fire this verb up and get set for a long night of dandelion dreams Line 6 Chamber Typical of a studio chamber this reverb goes well with just about anything Line 6 Dark Hall A large concert hall with many reflections This one is all about size and is great for that huge backdrop of reverb that doesn t get in the way even when turned all the way up Line 6 King Spring A Line 6 original inspired by the Sealy Posturepedic If three springs are cool how about a whole mattress full of Slinkies Richer denser wigglier A good night sleep is guaranteed or we ll give you your money back Line 6 Large Hall A very large concert hall It doesn t get much bigger than this Line 6 Large Plate Well with Large Hall and Cavernous lying around we just had to dish up a big ol Plate of goodness This one makes a great bed of reverb for playing over and washes up real good with soap and water Line 6 Lux Spring The blackface Fender Deluxe Reverb amp had a two spring reverb tank which this model is based on Line 6 Medium Hall Reverb A medium sized hall with heavy reflect
116. y time by pressing the Home button You can toggle between the two Home Pages by repeatedly pressing the Home button Edit Page shows you all parameters available to tweak for a processing block or setup page 1 Tutorial 92D 2 This is Tone 2 cate war EI Tutorial DELAY TUBE ECHO g 2 This is Tone 2 48 TIME TEMPO CD 90 15 35 LUER A DRIVE FLUT FDBK CONFIG vo ome 3USER 21 2 0 00B Tone Path Home Big User Home Page Edit Page available for User Presets only Controls amp Connections EJ Select Knob Turning this knob will do different things depending on what page you re on Home Page turn to select presets See Chapter 4 for all the detail Edit Page turn to pick a different Model This works for the Amp Stomp Mod Delay Reverb and Wah edit pages Full details are in Chapter 5 You can also press this knob to store your own tweaked up sounds in POD X3 Live Just press choose what to store and where to store it and press the button again to complete the Save Chapter 4 will fill you in EJ Home Hold for Commands Press to return to the Home Page For User Presets press repeatedly to toggle between the Tone Path Home Page and the BigNumber Home Page Press and hold for 2 seconds to enter the Commands page Full details are in Chapter 6 Inputs Press to enter the Inputs setup p

Line 6 POD X3 manual (rev B)

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