Line 6 POD XT Pro

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

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

The DSP engine utilises amp and cabinet modelling algorithms developed for Line 6's latest Vetta modelling amplifiers and combines these with a number of effects, many taken from their Modeler range. The PodXT Pro also benefits from the much-improved user interface of the PodXT, whereby on-screen 'virtual' knobs show both the stored data positions and the physical position of the front-panel knobs. The majority of the controls are identical to those on the PodXT reviewed back in SOS January 2003. Line 6-2.s

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

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

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