Reviews & Opinions
Independent and trusted. Read before buy Line 6 Podxt PRO!

Line 6 Podxt PRO

Manual

Preview of first few manual pages (at low quality). Check before download. Click to enlarge.
Manual - 1 page  Manual - 2 page  Manual - 3 page 

Download (French)
Line 6 Podxt PRO, size: 10.6 MB
Instruction: After click Download and complete offer, you will get access to list of direct links to websites where you can download this manual.

About

Line 6 Podxt PROLine6 Bass PODxt Pro Bass Amp Simulator 99-050-0705
Bass PODXT Pro gives you world-class tone from the stage to the studio. With over 50 must-have stompbox, studio, and synth effects with flexible routing (6 simultaneous), and over 28 classic and modern amp models, Bass PODXT Pro has everything you'll need to create a monstrous bass tone. With its XLR and 1/4-inch outs, 24-bit/96k digital ins and outs (AES/EBU & S/PDIF), and effects loop, you'll be able to connect to any type of analog, digital, or computer audio hardware.

Details
Brand: Line6
Part Number: 99-050-0705
UPC: 0614252037112, 614252037112

 

[ Report abuse or wrong photo | Share your Line 6 Podxt PRO photo ]

Video review

Demo Musicman Luke with Line 6 Pod XT Pro

 

User reviews and opinions

<== Click here to post a new opinion, comment, review, etc.

Comments to date: 3. Page 1 of 1. Average Rating:
moniquel 10:38pm on Tuesday, July 27th, 2010 
Modified with External Antenna I have bought this device a year ago and I was very satisfied about the sound.
t1-spam 6:38am on Saturday, July 24th, 2010 
"However, you can get around that whole pedal issue easily, record out through another device! For those new with this kind of technology.
tadan 10:34am on Sunday, March 14th, 2010 
Excellent!!! This is an EXCELLENT wireless system. What really made the system give me the "wow" factor, was the battery reading. Line 6 XDR95 Nice unit but try to get the battery out in a hurry very poor.

Comments posted on www.ps2netdrivers.net are solely the views and opinions of the people posting them and do not necessarily reflect the views or opinions of us.

 

Documents

XT LIVE

PRO GUITAR TONE ON THE FLOOR

Pilots Handbook

An in-depth exploration of the revolutionary technologies and pulsing tonal pleasures that lurk within PODXT and PODXT Pro.
Electrophonic Limited Edition. Also available at www.line6.com. Revision A.

CONTROLS REFERENCE

NAVIGATION REFERENCE

VARIAX

OUT/THRU

MIDI IN

PHONES

OUTPUT L/MONO

AUX INPUT INPUT

AMP TONE CONTROLS

Pro Modeled Vintage & Modern FX Custom Tone Recording Outputs

OUTPUT MODE

SYSTEM

TREBLE

PRESENCE

CHAN VOL

TWEAK WAH

STOMP MOD DELAY

VOLUME

BANK A B

HOLD/TUNER

PEDAL 2

NORM/PAD

SERIAL NUMBER STICKER

AUX INPUT
SHOCK HAZARD DO NOT OPEN. RISQUE DE CHOC LECTRIQUE NE PAS OUVRIR. TO REDUCE THE RISK OF FIRE OR ELECTRIC SHOCK DO NOT EXPOSE THIS EQUIPMENT TO RAIN OR MOISTURE. TO REDUCE THE RISK OF ELECTRIC SHOCK DO NOT REMOVE COVER. NO USER SERVICEABLE PARTS INSIDE. REFER SERVICING TO QUALIFIED SERVICE PERSONNEL. THIS DEVICE COMPLIES WITH PART 15 OF THE 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.

WARNING/AVIS:

LINE/AMP

OUTPUT TO AMP/LINE

LEFT/MONO

STEREO

MIDI MIDI

OUT/THRU VARIAX VARIAX

U.S. Patent No. 5,789,689

USB USB

POWER REQUIREMENTS

OFF ON

9v AC 2000 mA minimum
RISK OF ELECTRIC SHOCK DO NOT OPEN

CAUTION

When EDIT, SAVE or TUNER is lit, SELECT selects from the pages listed below Otherwise, SELECT chooses Channel Memories

EDIT PAGES


Amp Settings A.I.R. Settings Compressor and Gate Settings EQ Settings Stomp Select and Settings Stomp Settings (page 2 for some models) Modulation Select and Settings Modulation Settings (page 2) Delay Select and Settings Delay Settings (page 2) Reverb Select and Settings Reverb Settings (page 2) Wah and Volume Settings Pedal, Effect Tweak and Tempo Settings

SAVE PAGES

Save Sound to Channel Memory Custom Save Amp Model Custom Save Effects Setup MIDI Dump

TUNER PAGES

Tuner What are you connecting to? Display contrast MIDI/Variax PODXT Live Software Version

EFFECT MODELS

STOMPS MODEL BASED ON FACIAL FUZZ..FUZZ FACE FUZZ PI..BIG MUFF PI SCREAMER.TS 808 CLASSIC DIST..RAT OCTAVE FUZZ..OCTAVIA BLUE COMP.BOSS CS-1 RED COMP.DYNA COMP VETTA COMP..LINE 6 ORIGINAL AUTO SWELL..LINE 6 ORIGINAL AUTO WAH.MUTRON III MODULATIONS MODEL BASED ON SINE CHORUS.LINE 6 ORIGINAL ANALOG CHORUS..CE-1 CHORUS LINE 6 FLANGER.LINE 6 ORIGINAL JET FLANGER..ADA FLANGER PHASER..PHASE 90 U-VIBE..UNI VIBE OPTO TREM..FENDER OPTO BIAS TREM.VOX BIAS ROTARY DRUM & HORN.LESLIE 145 ROTARY DRUM..FENDER VIBRATONE AUTO PAN..LINE 6 ORIGINAL SMALL ROOM TILED ROOM BRITE ROOM REVERBS DARK HALL MEDIUM HALL LARGE HALL RICH CHAMBER CHAMBER CAVERNOUS DELAYS MODEL BASED ON ANALOG DELAY..BOSS DM-2 ANALOG W/ MOD.EH MEMORYMAN TUBE ECHO..EP-1 ECHOPLEX MULTI-HEAD.ROLAND SPACE ECHO SWEEP ECHO..LINE 6 ORIGINAL DIGITAL DELAY.LINE 6 ORIGINAL STEREO DELAY.LINE 6 ORIGINAL PING PONG..LINE 6 ORIGINAL REVERSE..LINE 6 ORIGINAL

FX JUNKIE PACK MODELS

STOMPS MODEL BASED ON METAL STOMP.BOSS MT-2 METAL ZONE TUBE DRIVE..CHANDLER TUBE DRIVER VETTA JUICE..LINE 6 ORIGINAL L6 BOOST + EQ.LINE 6 ORIGINAL BLUE COMP TREB.BOSS CS-1 W/ TREBLE SWITCH ON DINGO-TRON..MUTRON III DOWN CLEAN SWEEP..LINE 6 ORIGINAL SEISMIK SYNTH.LINE 6 ORIGINAL DOUBLE BASS..LINE 6 ORIGINAL BUZZ WAVE..LINE 6 ORIGINAL REZ SYNTH.LINE 6 ORIGINAL SATURN 5 RING M.LINE 6 ORIGINAL SYNTH ANALOG.MOOG AND ARP SYNTH FX..LINE 6 ORIGINAL SYNTH HARMONY.LINE 6 ORIGINAL SYNTH LEAD..MOOG LEAD SYNTH STRING.ARP/SOLINA STRINGS
(See www.line6.com/modelpacks for other Model Packs)
MODULATIONS MODEL BASED ON ANALOG SQUARE.SQUARE CE-1 CHORUS SQUARE CHORUS..LINE 6 ORIGINAL EXPO CHORUS..LINE 6 ORIGINAL RANDOM CHORUS.LINE 6 ORIGINAL SQUARE FLANGE.LINE 6 ORIGINAL EXPO FLANGE.LINE 6 ORIGINAL LUMPY PHASE..LINE 6 ORIGINAL HI-TALK..LINE 6 ORIGINAL L6 SWEEPER..LINE 6 ORIGINAL POD PURPLE X.LINE 6 ORIGINAL RANDOM S H.LINE 6 ORIGINAL TAPE EATER.LINE 6 ORIGINAL WARBLE-MATIC.LINE 6 ORIGINAL DELAYS MODEL BASED ON ECHO PLATTER.BINSON ECHOREC TAPE ECHO.EP-3 ECHOPLEX LOW REZ..LINE 6 ORIGINAL PHAZE EKO.LINE 6 ORIGINAL BUBBLE ECHO..LINE 6 ORIGINAL

2. 3. 4. 5. 6. 7.

10. 11.
QUICK START GUIDE Register now!

Register now!

Included in this manual is a handy, postage-paid card for you to send back to us to register your purchase. Its very important that you fill that registration card out right now and drop it in the mail, or jump on the Internet and register at www.line6.com. Registering insures that youre dialed in for warranty service (warranty info is at the end of this manual) and insures we can contact you if new software versions or other cool enhancements are offered cutting edge technology and such.
Go on-line and get more stuff!
Here at Line 6, our mission is to help you be more creative by bringing you powerful new technologies. As part of that mission, we focus great effort on making the Internet a valuable resource for every one of our customers. The Line 6 web site is one of the most effective ways for us to deliver you what you need to make you and your PODXT Live ever more powerful. Connect to www.line6.com to check out Custom Tone a truly massive, free, exclusive-to-Line-6 online tone library that gives you instant access to the signature sounds of the greatest guitarists, bands, songs and gear of all time. It integrates with the free Line 6 Edit software that lets you edit your PODXT Lives sounds, and save copies of them on your computer. Our web site is also the place to download our GuitarPort software and USB driver software, all free for your PODXT Live. You can even add more Models to your PODXT Live! (See www.line6.com/ modelpacks for the details on that.) And to make it easy to get all this cool, computer-related stuff, look for the handy Line 6 Monkey utility, downloadable from our web site, which will check for and install the latest versions of everything for you! Visit the discussion boards to learn tips & tricks, trade advice, and generally hang out and get POD-a-licious with the whole extended family of POD XT users. Use the Support pages to get answers to your technical questions and contact our customer service experts. Or grab electronic versions of this book and other documentation, learn what your favorite artists are doing with Line 6 gear, and see the latest products were introducing for you. Not on the Internet yet? This may be your time to make the jump, and thereby ensure that you will get all the great resources we can offer for you and your POD XT Live.
QUICK START GUIDE Introduction

Introduction

Welcome To PODXT Live.
Thank you for inviting PODXT Live into your life. Whether you use it as the ultimate multi-effect pedal, a direct recording miracle, a powerhouse preamp, a practice partner, or a creative digital signal processing tool (and heck, why should it be just one?) we think youll agree that PODXT Live is about the most amazing thing to happen to the electric guitar since, well, since the guitar amplifier itself! PODXT Live delivers the incredible tones of the acclaimed Line 6 Point-to-Point Interactive modeling technology (as featured in our Vetta II series amps), fuses it with the wonderfully portable and easy to use POD which has been the guitar recording world standard for years, and smacks it all down on the floor for rugged professional use. So youve got the tonal heritage of the past century of stomp box and guitar amplifier design, plus nocompromise recording and direct sound excellence all ready to roll when you are.

Amp, Cab and Effect Models
The tone and technology know-how of Line 6 thus comes to you as Amp, Cab and Effect Models based on a collection of gear recognized by guitarists the world over as true tone classics. These models were tweaked through careful, scientific A/B comparisons to the gear that inspired them, with an ear open for the effects of different volume levels and settings of the originals tone and gain controls. The gain and equalization characteristics of the modeled gear were carefully measured so that changes to knobs on the models would mirror the effects of these changes on the originals as closely as possible. Were talkin major attention to detail here. Tone control center frequencies, slopes, and cut/boost range were painstakingly analyzed, in addition to a whole host of factors unique to each piece of gear. Not only that, but since many classic amps and effects have highly interactive circuits, we paid careful attention to the way that the setting of one knob changes the way that another knob may behave. All in an effort to make our Models as much like the amps, cabs and effects in our collection as possible. The resulting Amp, Cab and Effect Models are the foundation of PODXT Live. Now, then here are a couple of things we want to be completely crystal clear on: 1. The Line 6 modeling process is a patented, 100% digital softwarebased technology exclusive to Line 6. 2. Line 6 Modeling is not sampling, nor is it solid state; no special guitar, pickup, or cabling is needed.
Theres Magic in the A.I.R.
For recording and direct feed to a mixer, PA system, or headphones, POD XT Live delivers its modeling tones through another innovation: Line 6s A.I.R. direct recording output. The A.I.R. (acoustically integrated recording) technology is the result of intensive research and careful study of the tonal characteristics produced by the interaction of amplifiers, cabinets, speakers, microphones and the recording room during the recording process. The direct output of many preamps, amplifiers and direct box-style amp replacements available today offer some limited form of cabinet simulation or speaker emulation. Those that happen to be more than simple high end roll-offs have little or no control options. Generic cabinet simulations cannot reproduce the
markedly different tones resulting from the choice of speakers, wood, and other details of a great real-life speaker cabinet. Other equipment also fails to reproduce the significant tonal contribution of microphone selection and placement, and do nothing to reproduce the subtle ambience of the recording space. The result is the familiar dissatisfaction with direct recording products even those that deliver a reasonably usable basic tone fail to reproduce the life of the guitar sound, and destroy the proper feel in the process. It is as if your guitar strings became heavier and less responsive, like they just went up a couple of gauges when you plugged into your direct box. And your sound lost its life. PODXT Lives combination of Amp Models and A.I.R. technology provides superior direct tones by recreating all the elements contributing to a great recorded guitar sound, and giving you that tone with the same feel as playing through a real amp and speaker cabinet: The effect of the guitar amplifier circuit is emulated by the Amp Model you choose. Each model was developed from extensive study of a classic amplifier treasured as a tone classic. In a guitar amp, once the guitar signal passes through the electronics, it is output to one or more speakers in a speaker cabinet. The specific design of the speakers, how many there are, and how they are arranged contributes significantly to your guitar tone, as does the construction and resulting tone of the wood box itself. A Marshall head driving a single 12-inch speaker in an open-back cabinet, for instance, will sound dramatically different from the same head driving a 4x12 closed-back cabinet. Line 6 has carefully constructed virtual software speaker cabinets that emulate the contribution made by real speaker cabinets to get great guitar sound. Once the sound makes it out of the speaker cabinet, the next important link in the recording system is the microphone that receives that sound. Guitar recordists select different microphones, and arrange them in different placements, to get particular sounds. A microphone pointing directly into the cone of a speaker will hear something different than one positioned off-axis. Line 6 carefully analyzed the coloring that various microphones add to the guitar sound, as well as the effects of different mic placement techniques, and gave you control of these details in your PODXT Live.

QUICK START GUIDE And Away We Go. The guitar amp, cabinet, and microphone dont just sit in empty space. The room that they are in contributes importantly to the guitar sound you will record. Reverb can be used to capture the basic character of the space, simulating the effect of the sound reflecting off the rooms walls, floors and ceiling. But there are other subtle details that have more to do with the spread of the sound as it passes through the air between the speaker and microphone. This final component is the key to the sense that the listener is in one position in the room, and the guitar sound is in another position, and that the two are separated by a mass of air that sound spreads through to reach the listener. All of these important sound-shaping components are accounted for in your PODXT Live. Stomp on the AMP foot switch to enable an amplifier emulation. You can then press the second button under the PODXT Live display while the EDIT button is NOT lit, select the Amp Model of your choice, and POD XT Live automatically matches that amplifier with an appropriate cabinet and microphone setup, and gives you the sound of that setup coming through the air of a recording space. So youre ready to start playing or recording with incredible micd up sound! Press a button and twiddle a knob or two, and you can switch cabinets, change out mics and their placement, and adjust the spread of the sound in your virtual room as well. The A.I.R. direct recording output is exclusive to Line 6. In combination with the Line 6 Amp, Cab and Effect Models, it is an indispensable part of POD XT Lives phenomenally satisfying sound.

And Away We Go.

So, now that you know whats in store, its time to experience POD XT Live for yourself. Grab your favorite axe, plug in, and flip back to the handy Quick Start Guide on the first page of this chapter if you havent already been through that. Then fold out the back cover and follow me, my friend, for the POD XT Live Grand Tour.
Controls & Connections
CONTROLS & CONNECTIONS
Now would be a good time to turn to the nifty back cover of this manual and notice that it folds out. Ooh, pretty pictures! The idea is to have this essential pictorial reference always opened out while youre thumbing through the manual. Its also got all the essential details for quickly getting around on your PODXT Live. The boxed numbers that pop up throughout this manual correspond to the numbers on the foldouts illustrations. The back side of the covers got handy pictures for the FBV and FBV Shortboard foot controllers, plus signal flow and connection guides.

Controls & Connections you can load them up with one of the thousands of great tones youll find at www.customtone.com for transfer to your PODXT Live using the Line 6 Edit or GuitarPort software that you can download for free from the Line 6 web site.
You load PODXT Live channels by turning the SELECT knob (or stepping on the BASS and A, B, C, D switches described later in this chapter). When recalling a channel, you may have left the physical BASS knob at minimum, whereas the justrecalled channel has this control set to max. To change BASS (or anything else), just grab the knob you want and tweak.

UP/DOWN

To leave the Channel Memory world and enter Manual operation, step on the A, B, C or D foots witch 21 and hold it for 2 seconds. In this mode, PODXT Lives display will show Manual Mode in place of the Channel Memory name, and the physical positions of the AMP TONE CONTROLS 13 and CHANNEL VOLUME 14 knobs will determine your sound. When the EDIT, SAVE or OUTPUT MODE/SYSTEM button is lit, the SELECT knob selects from the available display pages. When you press EDIT, it selects pages of amp, effect and channel parameters; when you press OUTPUT MODE/SYSTEM, it takes you through all of the Tuner and system-wide settings. When SAVE is lit, youll find amp and effect customization features as well as MIDI dump operations. The vertical scroll bar on the left side of each display page shows you where you are in that group of pages. 11 Displays - The left of these displays always shows the bank number and channel letter of the currently selected Channel Memory. The right of these displays, PODXT Lives LCD (liquid crystal display), is your window into every parameter and setting available. Heres how to get around that right display: 1. When the SAVE, EDIT and OUTPUT MODE/SYSTEM buttons are NOT lit, the display shows you the name of the selected Channel Memory, and the Amp Model that it uses. (And lets you use the Soft Buttons as described in 17.) 2. When the SAVE, EDIT or OUTPUT MODE/SYSTEM button IS lit, a scroll bar on the left side of PODXTs display shows you where you are in the available display pages. Press one of these buttons to see the scroll bar now. For those that really need to get all the nerdy details, each dot in that bar represents a page. As you turn the SELECT knob, you move through the pages and so does the little square. When
Controls & Connections youre on the rst page, the little square is at the top. When you get to the last page, the squares at the bottom. Square goes up, square goes down. Square goes up, square goes down. Fun for the whole family! 3. Each page typically has words that appear in the bottom of the display. These words label things you can adjust. Press the button below the thing you want to adjust, then turn the EFFECT TWEAK knob to do your adjusting. Heres more detail: 12 Effect Tweak - While the EDIT, OUTPUT MODE/SYSTEM and SAVE buttons ARENT lit, this knob varies some effect-related aspect of the sound that your PODXT Live is currently running. Turn it up and that effect will generally go deeper, louder, faster, longer or just plain more. Youll know what youre tweakin because a window will pop up on PODXT Lives display to show you. (If youre looking for the way to set the delay time, note that thats usually set by the TAP button.) To learn how you can customize the EFFECT TWEAK knob, see page 49. If the effect that EFFECT TWEAK is targeting is off, then, big surprise, EFFECT TWEAK wont change anything. While the EDIT, OUTPUT MODE/SYSTEM or SAVE button IS lit, the EFFECT TWEAK knob adjusts parameter values instead of tweaking your effect.

13 Amp Tone Controls - DRIVE, BASS, MIDDLE, TREBLE, PRESENCE. These control the tone of the Amp Modeling that you have selected. (The AMP foots witch determines whether the Amp Modeling is on or off; if its off, you of course wont hear any changes as you adjust these knobs.) The DRIVE knob controls how hard youre driving the input of the chosen Amp Model. Like the input volume control on a nonmaster volume guitar amp, higher settings give you more dirt. The exact response and interactivity of this and the rest of the Amp Tone Controls will vary from Amp Model to Amp Model, to mimic the tone controls of the original amp that inspired the Amp Model youve selected. See CHAPTER 5 for details on specific Amp Models.
14 Chan Vol - This knob controls the relative volume level of the channel you are playing through thus, CHANNEL VOLUME. Use this to balance levels between the sounds you store in two different PODXT Live Channel Memories (say between your rhythm and lead tones). In general, you want to set the CHAN VOL as high as possible to ensure youre getting the best signal-to-noise ratio performance but back
Controls & Connections off on this control if youre seeing CLIP in PODXT Lives display. Heres a handy tip to help you get the best experience with your Channel Volume settings:
You probably want to have 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, then, to get this happy balance, start with your favorite clean sounds. Turn up their Chan Vol as high as you can without getting the CLIP indicator in PODXTs display 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 Chan Vol settings to match well with those clean sounds. Now, each time you use your PODxt, you just have to set an Output volume level you like, and you can switch amongst your various sounds without unhappy volume differences. Another little Channel Volume detail: unlike the AMP TONE CONTROLS 13 , this knob works whether your Amp Model is on or off. PODXT Live actually stores two separate Channel Volume settings one for the Amp-on state 19 , and one for Ampoff. So you can balance the volume difference between these two if needed, as well as balance the volumes between any two Channel Memories regardless of whether they happen to use Amp Modeling or not.

16 Edit - A deep-dive into tone central is available at the press of the EDIT button. While EDIT is lit, the SELECT knob selects pages of everything that makes up a Channel Memory. From here, you set all the effect parameters, select cabinets and microphones, and assign a parameter to the EFFECT TWEAK knob. To learn more about deep editing, please see Chapter 4.
17 Soft Buttons - These four buttons operate differently depending on what youre doing. Since their function changes to control different software functions at different times, we call them the Soft Buttons.
If the EDIT button is NOT lit, PODXT Lives display will look about like this:
Press any one of the Soft Buttons below the display to turn the item above that button on or off. In the example above, the Comp, Amp, and Gate processing are off, and the EQ is on. Double-press any of these Soft Buttons to show the settings for that item, then press the lit EDIT button to exit that display when youre done tweaking details. If the EDIT button IS lit, the Soft Buttons will let you select which displayed setting youd like to tweak. See Chapter 4 for the detail on that.
18 Output Mode/System - This button takes you to a page where you tell PODXT Live what youre connecting to so that everything will sound and work properly. There are also other pages here (selectable with the SELECT 10 knob) for adjusting the operation of your PODXT Live. The settings made in these pages are NOT saved in individual Channel Memories. They affect the overall, general operation of the PODXT Live. 19 Amp, Stomp, Mod, Delay - These foots witches show you which of these blocks of sound processing is currently running. Light on means that item is active. Light off means its bypassed. Step on a switch to switch it on/off. Chapter 4 tells you about editing the details of the Amp, Stomp, Mod and Delay. Chapter 5 tells you about the individual Amp Models that PODXT Live gives you., while Chapter 6 tells you all about the individual Stomp, Mod and Delay Models. 20 Bank Up/Down - These foots witches choose amongst the PODXT Lives 36 banks of Channel Memories, similar to the SELECT 10 knob. Once youve foots witched your way to a new bank, youll then also need to step on the A, B, C or D
Controls & Connections foots witch to actually load one of the channels from that bank. (We set things up this way so your audience wont hear you switching through channels as you make your way to your next bank of sounds.)
21 A, B, C, D - The lights on these foots witches show you which of the Channels in the current Bank is running. You can step on any of them to choose a different channel basically the same thing you can do with the SELECT 10 knob. You can also step on one of these switches and hold it for two seconds to activate a Manual Mode. In this mode, PODXT Lives display will show Manual Mode in place of the Channel Memory name, and the physical positions of the AMP TONE CONTROLS 13 and CHANNEL VOLUME 14 knobs will determine your sound. 22 Tap (Hold/Tuner) - PODXT Live lets you control the time and speed of your effects by simply tapping on this button. To use the TAP control, just tap the button at the tempo you want and the effects that are set to lock to that tempo will change to match what you tapped. Theres also a Tempo parameter near the end of the EDIT pages, so you can see exactly what Tempo youve tapped. This is especially useful if you are trying to nudge your TAP setting to just the right value. See Chapter 4 to learn how to set up effects to follow the tempo that youve tapped.

Now, press the button under the display that reads DEST (short for destination) and then use the EFFECT TWEAK knob to pick a different Channel Memory. Pressing SAVE again will confirm your decision, and save your sound to that Channel Memory, replacing what was there before. Give your tone a name - Make your edits, then press SAVE. Again, youll see a display like the one above. Now, use the CURSOR < and > buttons to move the cursor under the letters you want to change. Press the button under CHAR (short for character) and then use EFFECT TWEAK to change the selected character. When youre done, press SAVE again to complete the job. See, that wasnt so bad.

Custom Saving Amp Models

Using this powerful feature, you can pack your PODXT Live with all the special amp-tweaking genius that only you possess. This brilliance will then be available instantly whenever you select a new Amp Model, loading your customized settings of the amp controls, including your chosen Cab Model, Mic selection, EQ settting and your personal tweak of the room. This way, when you load the Plexi-45 model, youll get your personal Plexi-45, with all the controls set for your very own version. Heres how it works: Choose an Amp Model, change the cab, tweak the room, and even use a different microphone. Press the SAVE button, then turn the SELECT knob one click to the right. The display will looks like this:
You have entered the land of Custom Save. Now, if you want your current settings to be recalled with this Amp Model, simply press SAVE again. PODXT Live saves the following controls with an Amp Model, and loads them when you turn the AMP MODELS knob:
Controls you can customize
Amp Model Cabinet Model Microphone Model and Room amount Drive, Bass, Middle, Treble and Presence controls Channel Volume EQ settings

MIDI Dumps

If you want to transfer one or more tones directly from one POD XT Live to another PODXT Live, or between PODXT Live and a MIDI data recorder, workstation, computer or sequencer, read on. For communication to MIDI hardware, youll need to use a standard MIDI cable to connect the MIDI Out of your PODXT Live to the MIDI In of the receiving device. If youre exchanging MIDI with a computer, you also have the option of installing the POD XT Family USB Driver software (a free download from www.line6.com) and have your PODXT Live exchange MIDI messages with your computer over a USB cable.

Modeled Amps & Cabs Zen Master

Zen Master

This model is based on a Budda Twinmaster 2x12 combo. The Budda has a great, warm, Class A/B, sound. The Budda philosophy is all about power tube distortion. Simplicity is the key. With relatively low front end gain, highly interactive tone controls, and tube rectifier sag, its great at getting a classic cranked sound for small gigs and recording (its all of 18 watts). Since the original Twinmaster has no mid control, weve added a little bonus to our model in the form of some post-Amp Model mid contouring available via a PODXTs MIDDLE control. As is true for all such bonus tone controls on PODXTs models, you should set this control to 12 oclock to get groovy with the unadorned Budda-style vibe. We used the Twinmasters Input 2, which is lower gain, when creating this model.
Modeled Amps & Cabs Small Tweed

Small Tweed

Modeled after a 1953 wide panel Fender Tweed Deluxe, this Amp Model will snarl with the best of them. The original amp had only a single tone control, essentially a treble roll off. We set up the TREBLE knob to give you this treble roll off when using this Amp Model. Which left us with the BASS and MIDDLE knobs just sitting there, so we set up the BASS and MIDDLE as post-Amp Model controls, which essentially lets you EQ up your tone as you would do on a mixing console after recording your amp. Set the BASS and MIDDLE knobs at halfway to put them in neutral, turn the PRESENCE to 0, and try the TREBLE knob somewhere above halfway for a classic Tweed sound.
Modeled Amps & Cabs Tweed B-Man

Tweed B-Man

The classic 58 Fender Bassman 4x10 combo was the amp that started it allinstant rock and roll tone. Originally a bass guitar amp, the Bassman became a Blues staple for 6-string guitarists. It has the fat bottom end youd expect from a bass amp, but also has the Fender twang on the top. Incidentally, when Jim Marshall built his first amps with Ken Bran they were heavily influenced by the early Bassman. One of the interesting things about the Bassman is just how interactive the MIDDLE and TREBLE controls are. The MIDDLE control isnt a bandpass, as in most tone control setups. Instead, its almost like a second treble control. The two are additive, so if youre running POD XTs MIDDLE knob higher than halfway up with this model, youll find that the TREBLE control might give you more bright than you really want. On the other hand, when you turn the MIDDLE knob down, youll probably want to boost the TREBLE. The Bassman, like many of the amps modeled for PODXT, didnt have a master volume. So to get the kind of tone that the Bassman can deliver at higher gain settings, you had to crank it up loud enough to do some serious damage to anyone who might be standing close by. With PODXT, you can get that kind of tone at a bedroom or studio level or even through your headphones! Try a Drive setting of about 4 or 5its guaranteed to dredge up the best R&B licks you know. 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 6s sound model development.

This is similar to the sound made by a Mutron III (modeled for POD XT Lives Auto Wah model) when you flip the down switch. Its kind of like a reverse auto wah. Pick hard to get the most out of this effect.

Clean Sweep

This is a wide range sweeping filter with a slow decay. Its 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.

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!!
Effect Model Details Double Bass

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. The parameters on page 2 are gain controls for each oscillator.

Buzz Wave

These are cool combinations of saw and square waves with fast vibrato. The 8 different WAVE parameters offer different vibrato speeds and different pitches.

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.

Saturn 5 Ring M

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. The Saturn 5 RM tracks the pitch of your guitar signal. This allows you to use the effect in ANY key. This is a GIANT leap forward for ring modulator effects! The RM/AM parameter on page 2 controls the amount of ring modulation.

Synth Analog

These are great for funky synth guitar (or bass) lines! These sounds were made popular by Moog and ARP.
Effect Model Details Synth FX

Synth FX

These sounds arent really designed to be musical. These are more special effects sounds. Youll hear a lot of these kinds of sounds in movie sound tracks.

Synth Harmony

If you loved those big synth leads from 70s era prog bands then youll 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 youd expect with the other synth models. Here the WAVE parameter controls the gain of the saw wave, while the square wave gain remains constant.

Effect Model Details Multi-Head

Multi-Head

Long before Boss pedals, the RE-101 Space Echo was Rolands first venture into the world of effects processing. Instead of having one movable playback head (like the Echoplex) this machine has multiple stationary heads. You change delay times by switching amongst these heads, and then fine-tune delay time with a motor speed control. The groovy part is that you can play back on multiple heads at the same time to get multi-tap delay effects. Page 2 controls includes a control for HEADS, which enables you to choose from the available combinations of the Multi-Head models 4 virtual tape heads. Theres also a FLUT (wow and flutter) control like the Echoplex EP-1 model.

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 weve spoken to. The Page 2 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. Theres 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.

Digital Delay

This model is a straight up digital delay with BASS and TREBLE tone controls (located on Page 2, of course). Nothing fancy here, just basic echo-cho-cho-cho. After all, its good to cleanse the palate every once in a while.

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. Its 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, youre 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 delays time, while OFFSET sets the right delay time as a percentage of the left. So, if you set TIME to 500ms, and OFFSET to 50%, your right delay time will be 50% of 500msin other words, 250ms. Ignoring the particular value of the left delay time, 50% 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 of 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.

MIDI Backing Up PODxt Live Programs to Other Devices
Backing Up PODXT Live Programs to Other Devices
While we recommend our free Line 6 Edit software (downloadable from www.line6.com) for backing up your memory, you can also back up to any appropriate MIDI hardware or software as described here. Its recommended that you back up the sounds programmed into your POD XT Live so that you can restore them in case of some future disaster. If you want to transfer sounds from PODXT Live to some other MIDI device for back up (like say a MIDI file player or a hardware sequencer or keyboard workstation), things work pretty much the same way as they do for PODXT Live-to-PODXT Live transfers. Youll need a standard MIDI cable to get everybody talking. Connect the MIDI OUT of your PODXT Live to the MIDI IN of the receiving MIDI device. Press OUTPUT MODE/SYSTEM so that its lit, and turn SELECT to reach the MIDI page.
Transferring All Channels - This feature will let you send all of your PODXT Lives presets out via MIDI for a complete back up of all your Channels: Press SAVE once, and use the SELECT knob to scroll down to the page that looks like this:
Now press the button under SELECT. Turn the EFFECT TWEAK knob to the left (counterclockwise) until the display reads:
Now press SAVE again to make the transfer. PODXT Lives display will say, SENDING SYSEX. STANDBY, until the data transmission is complete.
MIDI Backing Up PODxt Live Programs to Other Devices Transferring Some Data - If youd like to send a particular Channel memory out via MIDI, or just Effect Setups or Amp Models do this: Press SAVE once, and use the SELECT knob to scroll down to the page that looks like this:
Turn the EFFECT TWEAK knob to select a Channel Memory, Amp Models, or Effect Setups that youd like to transfer.

Any Channel Memory

All Amp Models (including your customized ones)
All Effect Setups (including your customized ones)
Now press SAVE again to make the transfer. Restoring Data - You dont have to do anything special to restore data to your PODXT Live. Just send the data to PODXT Live via MIDI, and it will recognize and receive the data and show messages on its display to tell you what data it successfully receives.

MIDI Other Things You Can Do with MIDI
Other Things You Can Do with MIDI
Changing sounds with MIDI Program Changes
The most basic thing to do with PODXT Live via MIDI is have it select sounds on another MIDI device each time you select a PODXT Live channel. Hook PODXT Lives MIDI OUT to your other MIDI equipments MIDI IN, set the MIDI Channels of both devices to be the same, and refer to the chart in Appendix B to see what MIDI program number will be sent to the connected MIDI device by each POD XT Live Channel. You can also set things up in reverse, having PODXT Live change channels when sent MIDI messages from another device. To do this, connect the other devices MIDI OUT to PODXT Lives MIDI IN, set them both to the same MIDI channels, as you should be in business.
Tweaking PODXT Live Tones with MIDI Controllers
If you have a hardware MIDI fader box, assignable MIDI controllers on a keyboard, or a stand-alone or computer software-based MIDI sequencer, you can take control of any PODXT Live parameter via MIDI. The chart in Appendix C lists which PODXT Live parameter is controlled by which MIDI Controller. Remember to make sure that the MIDI Channels have been set properly when first setting up your POD XT Live with the gear that will control it. To minimize zipper noise when controlling parameter
changes via MIDI, try making gradual, rather than sudden changes to PODXT Live settings.
Full MIDI Automation of PODXT Live
When you use PODXT Live with a MIDI sequencer, you can automate any PODXT Live parameter using MIDI Controller messages. This allows PODXT Live to give you the same kind of capabilities as Line 6s acclaimed Amp Farm software plug-in software for Pro Tools TDM systems, without the Pro Tools system! The PODXT Live front panel knobs all send out appropriate MIDI controllers (as do the wah and volume pedals of the optional Floor Board foot controller) that you can record into a MIDI track as you play through your PODXT Live along with a MIDI sequence. Hook your PODXT Lives MIDI OUT to a MIDI IN on your sequencing setup. Hook the sequencer MIDI OUT to PODXT Lives MIDI IN, and make sure PODXT Lives and
MIDI Other Things You Can Do with MIDI your sequencer are set to the same MIDI Channel. Be sure you set the MIDI OUTPUT setting in the OUTPUT MODE/SYSTEM pages to OUT. Also, disable any MIDI echo or soft thru function in your sequencer so it doesnt send all MIDI coming from your PODXT Live right back to it. To allow MIDI-controlled automation, you need to set up a MIDI track in your sequencer to record the data flowing from PODXT Lives MIDI OUT. Record-enable that track and start the sequencer recording. Slowly turn PODXT Lives DRIVE knob all the way up and then all the way down as your sequencer records, and then stop your sequencer. Now, look at the data thats been recorded into the POD XT Live MIDI track on your sequencer. Youll see that youve recorded MIDI controller #13 messages. This is the controller thats assigned to PODXT Lives Drive parameter. Play back the recorded MIDI track as you play through PODXT Live (or play back recorded direct guitar audio through PODXT Live), and youll hear the Drive changes that you recorded into your MIDI track. To minimize zipper noise when controlling

And Away We Go.

So, now that you know whats in store, its time to experience POD XT for yourself. Grab your favorite axe, plug in, and flip back to the handy Quick Start Guide on the first page of this chapter if you havent already been through that. Then fold out the back cover and follow me, my friend, for the PODXT Grand Tour.
PODxt Manual Book RevA.book Page 8 Friday, June 20, 2003 4:42 PM
Controls & Connections
CONTROLS & CONNECTIONS
Now would be a good time to turn to the nifty back cover of this manual and notice that it folds out. Ooh, pretty pictures! The idea is to have this essential pictorial reference always opened out while youre thumbing through the manual. Its also got all the essential details for quickly getting around on your PODXT. The boxed numbers that pop up throughout this manual correspond to the numbers on the foldouts illustrations. The back side of the covers got handy pictures for the FBV and FBV Shortboard foot controllers, plus signal flow and connection guides.
1 Power Switch - Flip this to bring your PODXT to life. PODXT Pro includes a standard IEC grounded power cable. For PODXT, use only the included PX-2 power pack. 2 Input/Guitar In - Plug your guitar in here. (You techies will want to know this is a mono, un-balanced connection). 3 Phones - Plug your headphones in here for silent concertos. The volume is set by the OUTPUT knob. Any time you use headphones, it important to be sure theyre not set for ridiculous volume before your slap them on your ears. Try an OUTPUT knob setting of about 10 oclock when first putting the headphones on, them turn up from there if you need more volume. So that you hear appropriate sound through the headphones, POD XT automatically switches to Studio Mode whenever headphones are connected (for more on Studio Mode, see What are you connecting to? on page 32).
Controls & Connections 4 Output - This controls the overall output level of PODXT and also sets the headphone level. Changing the OUTPUT 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 PODXTs memory locations. PODXT Pro users, note that this does not affect the level of the XLR Outputs in Live Mode (for more on Live Mode, see What are you connecting to? on page 35). PODXT will give the best signal-to-noise performance when you have the OUTPUT control at max. With the OUTPUT control turned down low, you may get extra hiss which obviously aint what you wantif you turn up your mixer or recorders output to compensate. In order to allow you to set the OUTPUT as high as possible when connecting to recording, mixing, and other studio gear, be sure you are plugging PODXTs outputs into line level, not microphone or guitar level inputs. Line level inputs should allow you to turn PODXTs OUTPUT 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 XTs OUTPUT to maximum, when setting levels. 5 Left & Right Output - (See numbers 33 and 34 for PODxt Pros outputs.) These balanced 1/4-inch TRS (tip/ring/sleeve) connectors are ready to rock with pro +4dBu balanced equipment. They will also work happily with unbalanced 10dBV equipment and standard guitar cables. If you need mono output, you can use either one. 6 Pedal - Looks like a telephone connector on steroids. Connect optional Line 6 FBV or FBV Shortboard foot controllers here. PODXTs do not work with the Line 6 Floor Board and FB4. 7 USB - PODXTs USB jack lets you connect it directly to most computers, and record your PODXT directly to a wide variety of popular recording software. Weve included a USB cable for use with PODXT driver software. That softwarealong with directions for using itis free for you to download at www.line6.com.

GETTING SET UP PODxt In The Studio flick your computer monitors power switch off; record your guitar part; stop your recording, flick the monitor back on, and check out the buzz-free playback. Flatscreen LCD monitors generally dont cause hum and buzz. And just in case youre looking for an excuse to buy one. Line 6 Variax guitars are immune to this sort of radiationinduced hum also, since it does not use traditional magnetic pickups.

Pedal Power

PODXT has a couple of foot control options that make getting great guitar tracks even easier: the LINE 6 FBV and FBV Shortboard. While well go into all the details in a later chapter, its good to know that both allow you to select POD XT channels, tap in your effect speeds/times/tempos, and kick in the tuner, plus both give you Wah and Volume pedal control. Whichever of these two Line 6 foot controllers you choose, it will plug into the PODXT 6 Pedal jack. Remember that the older Line 6 Floor Board and FB4 pedals will not work with your PODXT.

MIDI Mania

Those of you with MIDI-capable studios will find that your POD XT lets you control everything via MIDI. Using MIDI, you can select any PODXT Channel and automate any PODXT parameter. You are truly lord of your domain. Pretty neat, huh? Read the Deep Editing & MIDI Control chapter if you plan to venture into this realm.
GETTING SET UP PODxt Playing Live

PODXT Playing Live

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

Mount Up

If you perform live, youll probably want to have the PODXT in a handy spot on stage. One of the easiest ways to get it there is with the optional PODXT mic stand/amp top adaptor you can get from Line 6 its described on the Line 6 web site (where it can also be purchased). We know this is another shameless plug to get you to buy more gear, but what the heck this really is a handy little item to get the POD XTs righteous red aluminum chassis wherever you need it for mid-show tweaking. And that custom PODXT carry case is simply smashing. But lets get back to educational stuff:
Keeping Your Options Open
When youre playing live with PODXT, youve got a choice of setups. You can plug straight out of the PODXTs outputs into the house system for awesome tone without the hassle of mics and cabinets and all that other stage setup. You can also choose to run PODXT into a power amp and speaker cabinets, using it as the ultimate preamp. Or, you can plug your PODXT in between your guitar and a guitar amplifier so PODXT acts as a tone shaping front end for the amp. Whichever setup you choose, youre gonna have to tell your PODXT about it first. Read along and well getcha dialed in like a pro.

GETTING SET UP PODxt Playing Live If you have a guitar amp with an effect return or a jack that lets you connect directly to the input to the power amp, you can plug PODXTs output right into that connection and that will generally bypass the tone controls of the amp and avoid their coloring of PODXTs tones. When plugging into the effect return or amp directly this way, you want to choose LIVE 2X12 or LIVE 4X12 on the What Are You Connecting To? page.
External Stomp Boxes and PODXT
If youve been playing guitar for a while, you probably have some favorite pedals that you dig. And even though PODXT has now graced your life with some pretty hip stomp box and rack effects models, you probably still want to have the option of keeping those old pedals in your arsenal. No problem! Just remember that if youre going to use PODXT with those other effects boxes in front, theyre going to act differently based on the Amp Model youve selected on your PODXT. Its just like youd expect different combinations will produce a veritable feast of tone! Some distortion boxes may sound overly harsh if you max their output volume into your PODxt. Try lowering the distortion boxs volume, and you can always add more gain with POD XTs DRIVE knob or its own STOMP effects.
GETTING SET UP PODxt Pro Congurations & Connections
PODXT Pro Configurations & Connections

Selecting An Input

Press the I/O & DIG SELECT button 26 once to see this page where you select from PODXT Pros many inputs and digital options:
Press the far-left Soft Button below INPUT and select from these options: this when plugging your guitar straight into the front panel INPUT 2 jack. When this is selected, audio from the rear panels line level input and digital inputs is ignored.
LINE INSelect GUITAR INPick
this option when whatever you want to run through POD XT Pro is plugged into the rear panel Line Level Input 29. When this is selected, audio from the front panel input and the digital inputs is ignored.
AES LEFT, AES RIGHT, AES L+RSelect one of these to use the rear panel AES/EBU 36 digital inputs. The AES L+R option merges the left and right AES inputs to mono, since PODXT Pro only allows a mono input. When this is selected, the front and rear
panel analog inputs are ignored.
SPDIF LEFT, SPDIF RIGHT, SPDIF L+RSelect one of these for the rear panel S/PDIF 36 digital inputs. The SPDIF L+R option merges the left and right SPDIF inputs to mono, since PODXT Pro only allows a mono input. When this is selected, the front and

Effects Editing

You edit all of PODXTs Effects the same way. Simply double-press any effect on/off button to jump directly to the first page for that effect, press a button beneath the display to select a parameter, and twiddle the EFFECT TWEAK knob to tweak whats selected. To get to any other page, whether for Reverb or whatever, turn the SELECT knob while the EDIT button is lit. And your handy scrollbar on the left of the display lets you know where you are. See? We knew you were a power user, deep down inside. In general, most effects only have two pages worth of parameters to keep it simple, and the most common parameters are on the first page. So if you cant find what youre looking for on the first page, turn SELECT one click clockwise and youll probably see what you need there.
Creating & Storing Sounds Inside the Edit Menu Heres an example. Double-press the STOMP button. The Stompboxes only have one EDIT page that looks something like this:
As with all of the effects, the first button from the left below the display allows you to choose the effect model. You can also see that the Vetta Comp has knobs for Sensitivity, and Level. Pressing the button under SENS selects it for tweaking via the EFFECT TWEAK knob. Other effects, such as DELAY and MOD, have 2 pages of parameters:

Delay Edit Page 1

Delay Edit Page 2
CONFIG, on page 2, is available for PODXTs volume pedal, Delay, and Mod. It lets you
position each one either: PRE in front of the amp, where youd place a stompbox, or POST after the amp, where youd put a rack type effect. A picture is worth a thousand words. Turn the page for a few good ones that illustrate this pre/post stuff.
Creating & Storing Sounds Inside the Edit Menu Heres a typical routing with a MOD effect PRE and a DELAY running POST:

MODULATION

AMP/CAB A.I.R. II
Heres another routing with both MOD and DELAY effects in the PRE position:

AMP/CAB

This is what the full signal flow looks like inside your PODXT, including the pre and post options for Mod, Delay and the Volume pedal:

VOLUME

AMP/CAB + A.I.R. II

REVERB

(PODXT Pro only)
Setting your Tone to Tempo
Youre probably wondering when we were going to let you in on the secret to giving your effects some groove. Well the secret is Note Values. Note values take the current tempo and apply a common set of calculations to derive delay times or modulation speeds that are perfectly in time with your music. Lets put it this way: Ever wanted to have a 16th note Tremolo feeding into a dotted-eighth note Delay? Now you can. Whenever you want to set a Mod Speed or Delay Time to be groov-a-licious: 1. Select the Delay TIME or Mod SPEED by pressing the button below it. 2. Spin EFFECT TWEAK counter-clockwise until you start seeing little notes in the place where milliseconds or Hertz used to be. 3. Tap twice on the TAP button to set your tempo, and your Delay and/or Mod now match the tempo you tapped. When you set your Delay time to match dotted-eighth notes, for instance, the TIME control will look like this:

Reverb

Our next stop on our little trip through the EDIT wonderland is the Reverb page. After all, what self-respecting twangmaster wouldnt want some reverb now and then? Here youll find the ability to change the reverb model (PODXTs got plenty of them), as well as the associated parameters necessary to get that really groovy verb going on. The only thing you wont find is reverb Mix thats because the mix is controlled by the dedicated REVERB knob.

Wah and Volume

From the Reverb edit page, spin the SELECT knob one click clockwise and youll find the WAH and VOLUME parameters. The display now looks something like this:
Lets check out the wah first. Over the last few years, many POD users have requested the ability to save the on/off state of the wah with a Channel Memory. That way when you recall that channel, the wah comes on automatically. Rejoice! Rejoice! Your wish has been granted by the all-merciful tone gods. And you didnt even have to sacrifice your 60s Telecaster in a fiery devotional ceremony! (Whew.) In fact, you can even save the position you want the wah to be set at when it comes on by pressing the button below POSI and twiddling that EFFECT TWEAK knob. Moving on to the right side of the Wah/Volume page. Here you can determine the behavior of an expression pedal (like the Line 6 EX-1) connected to the optional FBV Shortboard. When PEDAL is set to VOLUME, the EX-1 will control PODXTs Volume and the Shortboards built-in pedal will be dedicated to Wah. You can also choose the position of the volume pedal: PRE (before the amp model), or POST. When PEDAL is set to TWEAK, pedaling the expression pedal from heel to toe will move the FX TWEAK assigned parameter from its minimum value to its maximum value.
FX Tweak Knob Assign / Tempo Assign
Imagine this: youre in the middle of the most inspired gig of your life and you wish to tweak the one effect parameter that would send you over the top and into sonic nirvana. Shazam! Your wish has been granted. Follow me to the next EDIT page that controls the EFFECT TWEAK knob assignment. It looks like this:
Creating & Storing Sounds Saving Yourself From this page, you can decide what the EFFECT TWEAK knob will be adjusting in this Channel Memory. Just press the button under the display thats labeled TWEAK, and use the EFFECT TWEAK knob to choose the perfect parameter. The right side of this display shows you the tempo for this Channel Memory. This tempo is used to calculate the time/speed of any delay and modulation effects that you set to follow tempo. You set the tempo by tapping the TAP button a couple of times, or you can press the button beneath TEMPO and spin the EFFECT TWEAK knob until you get exactly the tempo that will make your heart beat with passion and joy!

Modeled Amps & Cabs Zen Master

Zen Master

This model is based on a Budda Twinmaster 2x12 combo. The Budda has a great, warm, Class A/B, sound. The Budda philosophy is all about power tube distortion. Simplicity is the key. With relatively low front end gain, highly interactive tone controls, and tube rectifier sag, its great at getting a classic cranked sound for small gigs and recording (its all of 18 watts). Since the original Twinmaster has no mid control, weve added a little bonus to our model in the form of some post-Amp Model mid contouring available via PODXTs MIDDLE control. As is true for all such bonus tone controls on PODXTs models, you should set this control to 12 oclock to get groovy with the unadorned Budda-style vibe. We used the Twinmasters Input 2, which is lower gain, when creating this 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 6s sound model development.
Modeled Amps & Cabs Small Tweed

Small Tweed

Modeled after a 1953 wide panel Fender Tweed Deluxe, this Amp Model will snarl with the best of them. The original amp had only a single tone control, essentially a treble roll off. We set up the TREBLE knob to give you this treble roll off when using this Amp Model. Which left us with the BASS and MIDDLE knobs just sitting there, so we set up the BASS and MIDDLE as post-Amp Model controls, which essentially lets you EQ up your tone as you would do on a mixing console after recording your amp. Set the BASS and MIDDLE knobs at halfway to put them in neutral, turn the PRESENCE to 0, and try the TREBLE knob somewhere above halfway for a classic Tweed sound.
Modeled Amps & Cabs Tweed B-Man

Tweed B-Man

The classic 58 Fender Bassman 4x10 combo was the amp that started it allinstant rock and roll tone. Originally a bass guitar amp, the Bassman became a Blues staple for 6-string guitarists. It has the fat bottom end youd expect from a bass amp, but also has the Fender twang on the top. Incidentally, when Jim Marshall built his first amps with Ken Bran they were heavily influenced by the early Bassman. One of the interesting things about the Bassman is just how interactive the MIDDLE and TREBLE controls are. The MIDDLE control isnt a bandpass, as in most tone control setups. Instead, its almost like a second treble control. The two are additive, so if youre running POD XTs MIDDLE knob higher than halfway up with this model, youll find that the TREBLE control might give you more bright than you really want. On the other hand, when you turn the MIDDLE knob down, youll probably want to boost the TREBLE. The Bassman, like many of the amps modeled for PODXT, didnt have a master volume. So to get the kind of tone that the Bassman can deliver at higher gain settings, you had to crank it up loud enough to do some serious damage to anyone who might be standing close by. With PODXT, you can get that kind of tone at a bedroom or studio level or even through your headphones! Try a Drive setting of about 4 or 5its guaranteed to dredge up the best R&B licks you know. 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 6s sound model development.

Modeled Amps & Cabs Plexi Jump Lead

Plexi Jump Lead

Guitar playing is all about experimentation, isnt it? That, and finding all the possible ways to get more distortion out of whatever gear you have at hand. One of the fun things you can do with a Plexi is take a short guitar cable and jumper channel I and channel II (as theyre frequently numbered) together for a little extra saturation. Some guys loved this sound so much that they pulled the chassis and permanently wired a jumper into the amp. Being the obsessive/compulsive tone freaks we are, we just had to give you a model of this setup, too.
Modeled Amps & Cabs Plexi Variac

Plexi Variac

Ahhh, the stuff of legend. According to the stories, part of the magic behind Edward Van Halens Brown Sound was a Marshall 100 watt Super Lead being purposely run at higher voltage through the auspices of a Variable AC Transformer (aka a Variac). While we dont generally recommend experiments with high voltage sources, especially ones that might blow up precious gear, we felt it was our duty to see if the stories were true. So we cranked the Variac up to 140v AC and gave the 68 Super Lead a power workout. (Dont worry, it survived to rock again.) Were thinking those stories must not be too far from wrong.
Modeled Amps & Cabs Brit J-800

Brit J-800

Turn to this Amp Model to conjure up tones of the coveted JCM 800, one of Marshalls most universally-acclaimed modern amps. This updated version of the Plexi continued Marshalls heritage with added gain and edge for a new generation of rock guitarists. One of the biggest differences here is that the tone controls are located after the preamp tubes. Incidentally, some versions of JCM 800s get their distortion by clipping a diode. The amp we modeled uses a tube for distortion. The JCM 800 is, of course, the metal sound Marshall made famous. And although not many people play Marshalls clean, it is a great tone, so you should also be sure to check out this model with a low Drive setting. Of course, you can always pump up the drive and rage. 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 6s sound model development.

PODxt Manual Book RevA.book Page 24 Friday, June 20, 2003 4:42 PM
Modeled Amps & Cabs Super O

Super O

Yet more of the stuff of legend. Jimmy Page has admitted to using his 58 Tele and a Supro amp to record most of the first two Led Zeppelin albums. The only problem is, hes never really copped to which Supro model he used, since his simply saying the word Supro caused a run on pawnshops and music stores everywhere, making it virtually impossible to find another one of whichever model it was that he used. We went so far as to impose on our friendship with people we know who were actually present during the recording of Led Zeppelin II to see if they remembered anything about that particular amp. They didnt recall the specific model number, only that it was a grey and silver tiny little bastard. Other sources have claimed that it was the 1x12-inch version. So, until Pagey speaks, the mystery remains, but, whatever the truth of those Zep sessions may be, were confident that this Supro S6616 model can be a fine entrance ticket to the Houses of the Holy. By the way, thats a 6x9-inch speaker in this amp, just like in your car stereo. Go figure.
PODxt Manual Book RevA.book Page 25 Friday, June 20, 2003 4:42 PM
Modeled Amps & Cabs Class A-15

Class A-15

Heres another Vox-inspired Amp Model. This model is based on Channel 1 of a wonderful 1960 AC 15. The sound is similar to the Vox AC 30 that was studied for Vetta, but this is a smaller amp (one, instead of two, 12-inch speakers) with a warmer, more woody sound. Once again, the original amp had only a single tone controla treble cut. We faithfully modeled that and then slipped in some post-Amp Model Bass and Mid contouring. Set the BASS and MIDDLE in neutral (12 oclock, or halfway up), PRESENCE to 0, and play with the TREBLE control to get yourself some of those classic British invasion sounds. To model this, we plugged into Input 2, which is slightly darker than Input 1, and gives you more of that classic warm sound that the AC 15 is famous for.
PODxt Manual Book RevA.book Page 26 Friday, June 20, 2003 4:42 PM
Modeled Amps & Cabs Class A-30 TB

Class A-30 TB

Music was changing in the early 60s and guitarists were asking for more brilliance & twang. So the Jennings Company, makers of Vox amps, decided to add Treble and Bass controls (and an extra 12AX7 gain stage, incidentally) in addition to the Treble Cut knob it already had (which in actuality was a sliding bandpass filter that always seemed like it was working backwards); this additional circuit became known as Top Boost. The AC 30 with Top Boost was the amp made famous by many British invasion bands. Much of the unique character of the Vox sound can be attributed to the fact that Class A amps overdrive in a very different way than Class AB. Brian May of Queen, Mike Campbell of Tom Pettys Heartbreakers, and The Edge of U2 have all used classic AC 30s to make their music. Although usually played fairly clean, a cranked AC 30 has a great saturated lead tone, a la Brian May on the early Queen albums. On this Amp Model, PODXTs MIDDLE control acts like the original Cut knob on the AC 30. For this model, we used the Hi gain input of the Brilliant channel. We also turned the tone controls around, since original Top Boost amps had the bass and treble turned all the way down when the knob was all the way up. Go figure. 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 6s sound model development.

Tap Tempo

Many of PODXTs Delay and Mod effects feature the ability to set your SPEED or DELAY TIME to match your musical tempo. Tapping on PODXTs TAP button or your FBVs TAP switch on each beat of a song will set your tempo. Actually, you only need to Tap twice, but what the hey. To tell a particular effect to listen to the Tap Tempo, all you have to do is spin the EFFECT TWEAK knob way down below the lowest SPEED or Delay TIME. For delays, youll go down past 20 milliseconds and youll see a whole note in the display. Keep turning until you see a quarter note. Now tap twice and youll hear the delay time is in perfect sync with what you tapped. Give the Delay TIME another twiddle to select a half note, and the delay is now twice as long as it was before, since half notes are twice as long as quarter notes. Nifty, huh? Setting a Mod speed for Tap Tempo works just like Delay TIME. Select a Mod effects parameter, then turn the EFFECT TWEAK knob all the way down until you see notes showing for the SPEED. Tap away on your PODXTs TAP button and hear the results!
Heres the Delay page with a note selected for TIME:
Stompboxes & Effects Reverb If you know exactly what the tempo is and dont feel like tapping today, press the EDIT button if it isnt lit already, and spin SELECT to go all the way to the end of the EDIT pages. Well look at that! Theres a TEMPO parameter for you to adjust. This is the tempo, in Beats Per Minute, of the current channel, and you can save it so that all the effects in this channel that youve told to use a note value will follow this tempo.
When we set out to create PODXT, we devoted our fanatical modeling technology and energy for innovation to developing no-compromise reverb effects. POD XTs 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 youll have to hear to appreciate.

Springs

Ahh, the sproing of a good spring reverb tank. Ya say you wanna play surf music, neighbor? Well sir, youve come to the head of the stream! The only thing missing is the ugly crash when the bass player stumbles over your amp. Lux Spring The blackface Fender Deluxe amp had a two spring reverb tank, which weve modeled here. Standard Spring 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 Fenders earlier spring reverbs. Go find yourself a bevy of bikini-clad beauties, wax up your board, and dig in.

Stompboxes & Effects Auto Wah

Auto Wah

What self-respecting filter-junkie would be without a Mu-Tron III envelope follower? Part auto-wah, part triggered filter, its all about wacky, and this model based on the Mu-Tron III gives it to you both coming and going. Go ahead unbutton that shirt, put on the flares, and get down with your bad self! The SENS knob varies the filters response to your playing, and Q adjusts the filters width.

Vetta Comp

A Line 6 original, Vetta Comp has a fixed ratio (2.35:1, in case youre 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 signals compressed, then set the volume with Level.

Auto Swell

This effect is an envelope generator, similar to the Boss SG-1 Slow Gear and other pedals. Each note or chord that 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. Youve got RAMP time to set over how long the swell takes to happen, plus DEPTH to determine how much the volume of your attacks is reduced.
Stompboxes & Effects The Modulation Effects

The Modulation Effects

Sine Chorus
Your basic digital chorus (as opposed to the analog type vibe of the CE-1 chorus model), with a sine wave as the modulator. Smooth going down, with BASS and TREBLE controls for bassing and trebling.

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.

Opto Trem

Stompboxes & Effects Rotary Drum

Rotary Drum

When they noticed that guitar players had started using Leslies, Fender decided to come out with its own, guitar-specific whirling dervish of a tone machine. Dubbed the Vibratone, it used a styrofoam baffle spinning in front of a 12-inch speaker, kicking all the sound out the sides of the box. One of the best known examples of a Vibratone tone is Stevie Ray Vaughans classic Cold Shot. The editing controls for the Vibratone are the same as for the Leslie 145. Take it for a spin!
Stompboxes & Effects The Delay Effects Analog Echo
The Delay Effects Analog Echo
Analog echo units like the DM-2 were designed as improvements over the tape echoes that came before them, using bucket brigade electronics to give guitarists echo units that were more reliable than the tape-based delays, with the added advantage of a lowpower circuit that can be run on batteries. Analog delays are treasured for the warm, distorted tones they produce, and POD XTs model based on the Boss DM-2 gets you the same sort of thing in a new digital realm of existence.
Stompboxes & Effects Analog w/Mod

Analog w/Mod

Heres a model based on the Electro-Harmonix Deluxe Memory Man which is a pedal that uses the bucket brigade electronics of other analog echoes, and adds a chorus circuit to boot. This adjustable chorus is applied to the echoes only, leaving the direct sound unaffected. The Memory Man, with its warm, distorted tone and swimming echoes, became an important tool for many guitarists, and was an essential part of the guitar sounds for the first U2 album. Part of the Deluxe in Deluxe Memory Man was the increased delay time of 500 milliseconds. Your PODXTs Analog w/Mod emulates that classic Memory Man tone with the added advantage of 2 seconds of delay time. On page 2, youll find the MOD SPEED and DEPTH control to set up the chorus on the delays.
Stompboxes & Effects Tube Echo

Tube Echo

The classic 1963 Maestro EP-1 was the first of a series of Echoplex designs distributed by the company, and made by Harris-Teller in Chicago. As touted in a Maestro advertisement, the Echoplexs.special effects range all the way from a controlled high speed reverberation to a full, throbbing echo! The main feature of the Echoplex design is a special cartridge of looped 1/4-inch audio tape that wraps past separate record and playback heads. The position of the playback head can be moved to adjust the delay time from 60 to 650 milliseconds. POD XTs EP1 model emulates the classic Echoplex tone with the extra advantage of up to 2 seconds of delay time. On page 2, youll find FLUT (wow and flutter) and DRIVE controls so that you can not only dial up some tube warmth like the original, but add that unique sound of a slipping, dirty capstan as well. 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 6s sound model development.

To obtain factory service:
If a member of the Line 6 Customer Service Team determines that your Vetta needs to be sent to Line 6 for service, you will be given a return authorization (RA) number. Products returned without an RA number will be returned to you at your sole expense. Pack the product in its original shipping carton and attach a description of the problem along with your name and a phone number where Line 6 can contact you if necessary. Ship the product insured and freight prepaid to Line 6 Customer Service, 6033 De Soto Avenue, Woodland Hills, CA 91367.
APPENDIX F: WARRANTY INFO
LINE 6 LIMITED WARRANTY INFORMATION Sending in your registration card allows us to register key information so that we may handle problems faster and inform you of advance information, upgrades and other news. Thanks in advance for lling out your registration card and sending it to us. And good luck in your music! Line 6, Inc. (hereinafter Line 6) warrants that your new Line 6 product, when purchased at an authorized Line 6 dealer in the United States of America (USA) or Canada, shall be free of defects in materials and workmanship for a period of one (1) year from the original date of purchase. Please contact your dealer for information on warranty and service outside of the USA and Canada. During the warranty period, Line 6 shall, at its sole option, either repair or replace any product that proves to be defective upon inspection by Line 6. Line 6 reserves the right to update any unit returned for repair and to change or improve the design of the product at any time without notice. Line 6 reserves the right to use reconditioned parts and assemblies as warranty replacements for authorized repairs. This warranty is extended to the original retail purchaser. This warranty can be transferred to anyone who may subsequently purchase this product provided that such transfer is made within the applicable warranty period and Line 6 is provided with all of the following items: (i) all warranty registration information (as set forth on the registration card) for the new owner, (ii) proof of the transfer within thirty (30) days of the transfer purchase, and (iii) a photocopy of the original sales receipt. Warranty coverage shall be determined by Line 6 in its sole discretion. This is your sole warranty. Line 6 does not authorize any third party, including any dealer or sales representative, to assume any liability on behalf of Line 6 or to make any warranty for Line 6. Line 6 may, at its option, require proof of original purchase date in the form of a dated copy of original authorized dealers invoice or sales receipt. Service and repairs of Line 6 products are to be performed only at the Line 6 factory or a Line 6 authorized service center. Line 6 may require advanced authorization of repairs to authorized service centers. Unauthorized service, repair or modication will void this warranty.

LINE 6 LIMITED WARRANTY INFORMATION Sending in your registration card allows us to register key information so that we may handle problems faster and inform you of advance information, upgrades, and other news. Thanks in advance for lling out your registration card and sending it to us. And good luck in your music! Line 6, Inc., warrants this product when purchased at an Authorized Line 6 Dealer in the United States of America or Canada, to be free of defects in materials and workmanship for a period of one year from the date of original purchase only upon completion and return of the Line 6 Warranty Registration form within 30 days from date of purchase. Please contact your distributor for information on warranty and service outside the USA and Canada. During the warranty period Line 6 shall, at its option, either repair or replace any product that proves to be defective upon inspection by Line 6. Line 6 reserves the right to update any unit returned for repair, and reserves the right to change or improve the design of the product at any time without notice. This warranty is extended to the original retail purchaser. This warranty can be transferred to anyone who may subsequently purchase this product within the applicable warranty period by providing Line 6 with all Warranty Registration information for the new owner and proof of transfer within 30 days of the purchase. Final determination of warranty coverage lies solely with Line 6. This is your sole warranty. Line 6 does not authorize any third party, including any dealer or sales representative, to assume any liability on behalf of Line 6 or to make any warranty for Line 6. Line 6 may, at its option, require proof of the original date of purchase in the form of a dated copy of the original authorized dealers invoice or sales receipt. Service and repairs of Line 6 products are to be performed only at the factory (see below) unless otherwise authorized in advance by the Line 6 Service Department. Unauthorized service, repair or modication will void this warranty. DISCLAIMER AND LIMITATION OF WARRANTY THE FOREGOING WARRANTY IS THE ONLY WARRANTY GIVEN BY LINE 6 AND IS IN LIEU OF ALL OTHER WARRANTIES. ALL IMPLIED WARRANTIES, INCLUDING WARRANTIES OF MERCHANTABILITY AND FITNESS FOR ANY PARTICULAR PURPOSE, EXCEEDING THE SPECIFIC PROVISIONS OF THIS WARRANTY ARE HEREBY DISCLAIMED AND EXCLUDED FROM THIS WARRANTY. UPON EXPIRATION OF THE APPLICABLE EXPRESS WARRANTY PERIOD (1 YEAR), LINE 6 SHALL HAVE NO FURTHER WARRANTY OBLIGATION OF ANY KIND, EXPRESS OR IMPLIED. LINE 6 SHALL IN NO EVENT BE LIABLE FOR ANY SPECIAL, INCIDENTAL OR CONSEQUENTIAL DAMAGES SUFFERED BY THE PURCHASER OR ANY THIRD PARTY, INCLUDING WITHOUT LIMITATION, DAMAGES FOR LOSS OF PROFITS OR BUSINESS, OR DAMAGES RESULTING FROM USE OR PERFORMANCE OF THE PRODUCT, WHETHER IN CONTRACT OR IN TORT. LINE 6 SHALL NOT BE LIABLE FOR ANY EXPENSES, CLAIMS, OR SUITS ARISING OUT OF OR RELATING TO ANY OF THE FOREGOING. Some states do not allow the exclusion or limitation of implied warranties so some of the above limitations and exclusions may not apply to you. This warranty gives you specific legal rights, and you may also have other rights, which vary, from state to state. This warranty only applies to products sold and used in the USA and Canada. Line 6 shall not be liable for damages or loss resulting from the negligent or intentional acts of the shipper or its contracted affiliates. You should contact the shipper for proper claims procedures in the event of damage or loss resulting from shipment.

 

Tags

HT-SS1200 Sport SRW-5500 PX-42VP5A DSB-9401F EL-337M Samsung R710 CD1401B 02 Lmvh1750ST Acerpower S200 CMT-M333NT R250 PRO Megane 2 Chess 2 Cordless1500 T1413 ACD2800 PSR-140 SD-270E YPP-15 YP-F1XB LE32A456 466 BMW 135I GR-P207dxza Acrobat COM SP0005 WJ-ND200 AQ09FAX DCR-TRV210E Nuvi 850 Hipath 4000 CDX-F5700 KX-TG1032 Neve 8816 ZOB580X MC13213 AL-840 PL42C430a1 Custom EX-V8 Audioline 704 E6307 Ftxg25EV1BW Doro X50 Printer SL-MV65 PV-L501D PRO 100 MDR-ED12LP A70-S256 DPR901 CDX-737 LP2252F ICF-CD7000 VK-1000 Nokia 8600 LAC-M5500 Sacd1000 001 KX-T7750 LH-C6230P Grundig G2 DCR-DVD803E Ho-2006 GGR50B 2800-500 HT-XQ100TS RS-M85 SCH-M430 Infection Simulator 2006 Factor PC EMP-TW2000 Combi STR-DG510 LX200GPS UB1222FX-PRO RQ1050 15 Mobile LC-30HV4U 11-1025 3VS851ID Nuvi 750 Easytouch 35 DA1102 1832FX DC-784M Air-F 150M20P Dvht-L14 VSX-515-S Samsung 450B 42PFL9703 Review EWF860 Psm53 Office T40W Software PRO100 50PG60UR DAV-HDX274 GS-3012

 

manuel d'instructions, Guide de l'utilisateur | Manual de instrucciones, Instrucciones de uso | Bedienungsanleitung, Bedienungsanleitung | Manual de Instruções, guia do usuário | инструкция | návod na použitie, Užívateľská príručka, návod k použití | bruksanvisningen | instrukcja, podręcznik użytkownika | kullanım kılavuzu, Kullanım | kézikönyv, használati útmutató | manuale di istruzioni, istruzioni d'uso | handleiding, gebruikershandleiding

 

Sitemap

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 60 61 62 63 64 65 66 67 68 69 70 71 72 73 74 75 76 77 78 79 80 81 82 83 84 85 86 87 88 89 90 91 92 93 94 95 96 97 98 99 100 101