review
Line 6 PODxt
The original kidney bean shaped POD created a sensation when it was introduced, allowing guitarists to get Line 6’s popular Flextone modeling tones while recording guitar direct. And while version 2 added minor improvements, PODxt takes things to whole new level. More than just an upgrade, PODxt is POD on steroids. Aside from its similar shape, nearly everything about the PODxt is brand new. The sounds come from the top-of-the-line Line 6 Vetta amp and the Line 6 modeler effects units; it has a new LCD display for easy control of parameters and settings without the need for a computer; and it features high-resolution audio to match today’s digital recording gear.
Interface
The PODxt uses a combination of knobs, buttons, and a LCD display to give you total control of amp and effects parameters. Thanks to the LCD display, no computer is required for "deep" editing of tones and effects. Every parameter is fully adjustable with the touch of a button and the twist of a knob. It also features one of the best chromatic tuners I have seen.
On its simplest level, The PODxt allows you to use knobs to select amps and effect chains, and then turn knobs to control tone, drive, and volume — just like a regular guitar amp. You can also adjust the reverb or tweak effects with their respective knobs. This makes it possible for even the most technically challenged guitar player to get great tones out the PODxt. For those wanting more control of their sound (and who doesn’t?), the LCD display gives you access to every possible amp and effect parameter.
Editing
The PODxt is packed with tonal possibilities and Line 6 did a great job of making all that power easy to access. The process of editing amps and effects with the PODxt was not immediately intuitive for me, but after a few minutes with the excellent manual everything made perfect sense. And while LCD display are usually not known for their "user friendliness", the PODxt uses its LCD display in an ingenious way that guitarists will easily understand. For example, when you want to adjust a chorus effect, you use a button to select the chorus “pedal” you want to edit, and the LCD display shows virtual knobs for SPEED, DEPTH, and MIX. You then press the button under the parameter (knob) you want to adjust and turn the “effects tweak” knob. As you turn the knob, the changes are displayed on the LCD screen. It’s not quite as easy as using a real chorus stomp box, but it’s close.
Adjusting effects is just the beginning, you can also create whole effects chains that can then be saved as effects presets. Imagine having instant access to 32 pedalboards full of effects and you start to get an idea of the possibilities. You can even put the effects chains pre or post amp to simulate plugging effects into an amp input or running then through an effects loop. Nice. You can also match any of the 42 amp models with any of the 24 speaker cabinet models for even further tonal variety. Then there is A.I.R.
Line 6 has developed a direct recording technology entitled A.I.R. (acoustically integrated recording), which simulates the process of recording a real guitar amplifier in a studio. A.I.R. gives you the ability to choose different microphone simulations (including on and off axis placement) and the ability to add some "room" effect to the model. Which all adds up to very realistic direct recording.
Finally, when you have finished editing your tonal masterpiece, PODxt allows you to save the whole thing as a preset. And you can name your presets with real names. No more memorizing numbers. The PODxt currently offers 64 onboard preset positions. The new Tone Transfer software will (hopefully soon) allow you to save even more on your computer and access them via MIDI.
Setting Up/Test Gear
While the PODxt is geared for direct recording, it can also be used with an amp or headphones. To get the proper tone, you need to tell the PODxt what device you are using it with. It automatically adjusts itself if you plug in headphones, but you must tell it if you are using it through an amplifier or going direct into a recording device or PA. This allows the PODxt to adjust itself and provide the optimum tone.
I tested the PODxt using a Les Paul Custom, a Japanese Strat with Kinman pickups, and an Ovation Balladeer Deluxe. I ran the PODxt through my Mesa/Boogie Mark II; I ran the outputs into a pair or Behringer Truth powered studio monitors; and I used headphones. I recorded it through a MOTU 828 FireWire audio interface into my Mac Titanium PowerBook laptop; and I used the PODxt’s own USB audio driver. I was able to achieve great results with all these setups.
How Does It Sound?
Now that I’ve described how the PODxt works, I’m sure what you really want to know is how does it sound? Naturally, tone is a very subjective topic, but I’ll do my best to give as accurate an analysis as I possibly can. However, you really must listen for yourself and be the final judge.
Presets
Many players judge units like the PODxt or multi-effects by their presets. This is a big mistake. What sounds awful with one guitar may sound great with another. The presets must be tweaked to match your guitar/pickup combination. Or better yet, you should create your own presets. Having said that, I was pleasantly surprised to find many useful presets that required no tweaking. I love the EJ Clean setting with my Les Paul. Of course, there are some I won’t use much, like the high gain rectifier settings geared for the metal crowd, but there are still many that will be awesome with a little tweaking. (Hint: boosting the presence control a bit made nearly every amp model sound a little more alive, to my ears.)
Some presets are named after songs to give you an idea of how they will sound. The Bridge Of Sighs setting faithfully captures Robin Trower’s sound on that record. Use a Strat with the Sultans Of Swing setting (and you fingers to pick) and you have a good approximation of the Knopfler tone.
Line 6 includes a handy chart that shows which presets are geared for single coil or humbucker pickups. You should take these as suggestions. I found many humbucker settings that I liked better with single coils, and a few single coil settings that worked fine with humbuckers.
Being a tweaker, I usually look at presets as starting points. The PODxt gives you lots of great material to start with, and basic tweaking is a breeze so dig in and make them your own.
The Amps
PODxt ships with a wide range of tube amps models and a single transistor amp model, the Jazz Clean, modeled on the Roland Jazz Chorus amp. The Roland model is probably the cleanest model of the bunch. Also included is a tube preamp model that worked great with my Ovation Balladeer Deluxe, giving it a nice warm recorded tone. There are five Fender models including three Tweeds, a Blackface, and a Twin Reverb model. The tweeds cover clean to crunch providing anything from blues to 70’s style boogie. The Blackface is great for roots rock, and the Double Verb model gives you a clean tone perfect for jazz.
There are also five Marshall models. The Plexi Lead 100 is modeled after the Marshalls Hendrix used; the Jump Lead is the Plexi Lead 100 with a little extra gain; the Variac model is a hot-rodded Plexi model goosed with extra voltage to give you that brown Van Halen tone; the J-800 copies those highly coveted British Marshalls – think Deep Purple; and the JM Pre is a high gain Marshall rackmount model.
Two Matchless models are covered. Choose the Match Chief’s light overdrive or the D-30’s for more gain. Two Mesa/Boogie models are also offered, a Mark II copy (I discuss this model in detail later) and a Dual Rectifier high gain metal monster. A pair of Vox amps is provided as well. The A-15 is perfect for Beatles covers and the A-30 can be cranked to provide an early Queen-ish tone.
There are also a number of models from other amp makers like the Zen Master, a Budda model with plenty of crunch; a Hiwatt DR-103 model that is very punchy and will cut through any mix; and the insanely high gain Soldano SLO-100 model. Two small amps, a Gretsch and a Supro, cover tweed-like crunch and early Zeppelin crunch respectively.
Finally, there are seven models of Line 6’s own creation. Line 6 Clean has a nice warm, clean tone; Class A provides a nice crunch; Spinal Puppet is high gain; Chemical X has a biting tone; Insane provides a noisy, high gain buzzsaw tone; and Piezacoustic is designed for solidbodies with Piezo pickups.
Modeling Realism
The PODxt attempts to model 42 different amps and 24 amp cabinets, an ambitious undertaking to say the least. Since I am not a millionaire and don’t have access to all the amps modeled, I’ll make a comparison to one I do have – the Mesa/Boogie Mark II.
My Boogie is a two-channel amp with a boost switch that effectively gives me three selectable tones – clean, crunch, and high gain. Modeling the Boogie presents a problem because of its variety of possible settings. In addition, being a mechanical device, doing something as simple as changing the volume affects the tone of the amp. I can leave the tone and drive controls alone, yet when I turn up the volume on the amp, the drive increases and the tone changes. In addition, I ordered the Altec speaker upgrade instead of the stock speaker, so my tone differs in that respect also. As you can see there are a lot of variables when modeling an amp. So Line 6 had their work cut out for them attempting to emulate this little beauty.
Line 6 chose to model the lead channel. As you can see this is a bit of a trade off, but probably a necessary one given the fact that the Boogie has two channels, and the lead channel is the one everyone wants anyway (although I love the clean channel too.) When you get right down to it, the PODxt does a great job of capturing the tone a Mark II in the lead channel setting. If you recorded both and did blind listening tests, only someone infinitely familiar with the actual amp would probably be able to pick it out (maybe.)
I’d also like to mention that I have heard my amp recorded in a recording studio, live, on a cassette 4-track, and on a Digital Audio Workstation. Guess what? It almost never sounds the same. There are so many variables when recording an amp (microphones, mic placement, the room acoustics, the amp settings, etc.) that you rarely get the same exact sound twice.
I can’t judge all the amps for realism, but I will say this: there are a huge number of tonal varieties available and the models all sound great. Isn’t that what you’re really after anyway?
Effects
The PODxt borrows many of its effects from the Line 6 DM4, MM4, and DL4 modeler pedals, plus some from the Vetta amp and a few new creations. You get models of five classic fuzz boxes (Arbiter FuzzFace, Electro-Harmonix Big Muff, Ibanez Tube Screamer, ProCo Rat, and Tycobrahe Octavia) giving you all the buzz you cold ever want. I am not a big fan of fuzz boxes but those who are will find plenty to like here. You get two classic compressors modeled after the Boss CS-1 and the MXR Dyna Comp. They both sound great and can give any of the amp models more punch. You also get an auto wah modeled after the Mu-Tron III and an auto swell effect.
The modulation effects include all the usual suspects. A Boss CE-1 model provides the analog chorus and is warm and lush. A digital chorus is also provided for a more shimmering, digital tone. Two flangers, the Expo and Jet flanger give you adequate swoosh, but were my least favorite of the bunch with their somewhat thin tone. The MXR Phase 90 model on the other hand was very warm and fat, sounding convincingly like an analog phaser of old. There is also a Uni-Vibe phaser/vibrato model for that Hendrix-y phase effect. Two rotary speaker models are provided, one based on a Leslie cab and one based on the Fender Vibratone. While not terribly convincing, they do give your guitar a nice whirly warble -- perfect for those slow arpeggio chords.
The delays cover all the bases from analog to digital to tube to tape. They are all great sounding and have the added benefit of two seconds of delay time. Everything from U2 effects to stereo ping-pong delays to reverse delays is here. One cool parameter found on the Echoplex and Space Echo models is a wow and flutter control to get that real tape effect.
Documentation
The PODxt printed manual is excellent. It is gives you all the information you need in an informal, conversational tone that is easy to understand. It includes plenty of helpful diagrams, a factory preset chart, and photos of the modeled amps and effects. Very nice.
Software
The PODxt software is upgradeable via an application called Line 6 Monkey. Line 6 Monkey connects to the Line 6 website and checks for new drivers, software updates, etc., making it easy to keep your PODxt software current. Editing software is also included to make creating you own sounds a breeze. It aso allows you to connect to the Line 6 website and download additional user created tones or upload your own. There are also optional Model Packs, which allow you to add more amp and effects models to your PODxt. There are three Packs available with amp models and effects from the Vetta II and HD147. Each pack is $50 (or all three for $100.) If you just can’t get enough amp and effects models, here’s your chance.
In Use
I am working on an instrumental CD and decided to put the PODxt to work in a real world recording setting. I have been playing around with a guitar riff for a while and decided it was time to make a song out of it. I started out with one of the amp models — BlackFace Lux — and tweaked it a bit to work with my Les Paul and the riff I had. Tweaking amp models is a breeze. To adjust the tone of a model, you simply grab one of the tone controls (such as Treble, Bass, Presence, etc.) and twist it until you get the desired effect. You can then adjust the drive to get more or less crunch with the same ease. As you adjust settings, the LCD display shows markers where the original setting were so you can always go back – cool. I then saved my changes as a preset in one of the open User slots and was ready to record the riff.
The LCD uses small markers to show the original preset positions.
I used the 1/4" analog output jack and ran the PODxt direct into my MOTU 828 FireWire audio interface and into my Macintosh Titanium PowerBook. It sounded great. I built a drum track using some samples from a Joey Kramer (of Aerosmith) Drum CD and was ready to record the riff. I laid down the riff track, added a bass track and my rhythm section was complete. Now I needed a lead track. My original intention was to make it a raging rocker but when I tried several high gain lead settings over the rhythm, it just wasn’t working. Then I spotted the EJ Clean setting and decided "Why not?" I improvised a little and started playing some octaves. Whoa! That’s it! I came up with a simple melody playing octaves and, against all conventional logic, the jazzy feel fit perfectly over the rock rhythm section.
Near the end of the song, I decide to take things to another place and added a screaming lead over the octaves using the Satch Boogie setting. After some general craziness and bashing away on the guitar, the second lead track was done. After some mixing so was the track. The PODxt made it all easy. No fooling with microphones and amp settings trying to get a good tone, I just plugged in and went. I have included an mp3 sample from the song below so you can get an rough idea of the finished product.
40 Days — Copyright ©2003 Mark Starlin
Using The PODxt Live
While the PODxt is geared for direct recording, it would certainly qualify as one of the most powerful multi-effects units on the market. Line 6 offers a couple of accessories for using the PODxt live. The first is an adapter called the POD Mount that allows you to mount the PODxt on a microphone stand or secure it to your amp handle. This may be all you need to use the PODxt live in situations where you have time to change settings/presets (with your hands) between songs.
The FBV Shortboard
For hands-free access, try one of the new Line 6 foot controllers, either the FBV or the FBV Shortboard. These controllers allow you to access the wealth of PODxt sounds with your feet – the preferred method for guitarists. I didn’t have a foot controller to test this out with, but I did play the PODxt through my Mark II Boogie and would have no reservation about using the PODxt live with a foot controller. In fact, if you are running through a PA, you could leave your amp at home and go with the PODxt and a FBV Shortboard for the ultimate compact rig.
Final Thoughts
Being a tube amp player, I was a little skeptical that the PODxt could live up to its hype, but I was pleasantly surprised. The amp models sound great when recorded direct or played through an amp, plus there are lots of useful effects. After a few minutes with the manual, it is easy to access all of its power thanks to the new LCD display. When you consider that you couldn’t buy any of the modeled amps for $400, and then throw in the included effects, the PODxt is an awesome value. If you do any recording, you owe it to yourself to check the PODxt out.
Reader Comments
Better Guitar encourages your input. Agree with this review? Think I’m crazy? If you have used a PODxt, email me your comments and I’ll post them below. The more opinions we have available, the better our buying decisions will be.
Lou Normandeau
One of your replies asked about using the ToneBone tube pedal through the Pod. I’ve been using that combination onstage now for about a year. Love it. However, I’m using a Pod2, so I can’t comment on the xt (which I am upgrading to within a month, that’s why I was reading your review). I have the ToneBone Classic — I didn’t want much overdrive, just a little warmth and crunch — I’ve found that I have to set the ToneBone between almost off and 1 to get the sound I want. Any more and it’s serious tube overdrive. I plan to modify mine to allow more “lo gain” range. I highly recommend the ToneBone, it’s the best tube overdrive I’ve used and a good match with the POD.
William A. Colón
I owned the Line 6 PodXT and it is the best piece of gear I have owned. This thing is the most amazing thing I have used because you can do a lot of tricky things, and you also can have an amazing sound. I got amps and all that but this thing sound very, very similar to the real ones. You need to have a huge ear to recognize the difference. But I recommend it to anyone. Line 6 Rules!!!
Lou Normandeau
Thanks for the review. It will help my decision. I’m also dying to have someone plug a TONEBONE into a PODxt and see if it gets TUBE HARMONICS mixed into the models. Let me know if you or any one you know has done this. Yes you’ll have to turn the output of pedal down to NOT overload the PODxt INPUT. The idea is of course to push good tones into GREAT TONES.
stats
- • 42 legendary and classic amp models
- • 24 cab & 4 mic models
- • 50 stompbox and studio effects
- • 128 channel memories
- • USB digital I/O
- • Built-in chromatic tuner
- • Full MIDI support
Positives
- Great sounding amp models; powerful, easy to use editing; built-in tuner; excellent user manual; makes recording guitars a snap.
Negatives
- The Tone Locker portion of the Line 6 Edit software has a clunky interface with confusing buttons.
Rating
- Performance: 9
- Sound Quality: 9
- Construction: 10
- Overall: 9.3
Ratings Key
- 0 = Worthless
- 10 = Excellent
Approximate Street Price
- $299
Available At Guitar Center
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Line 6 POD XT Guitar Multi Effects Processor Standard
Company
- Line 6
Sound Samples
- Click here to listen to PODxt sound samples at the Line 6 website.