Line6 Bass PODxt Live Bass

Discussion in 'Effects [BG]' started by toolarmy, Jan 23, 2009.


  1. toolarmy

    toolarmy

    Sep 15, 2008
    Any kind of experience would help the others.



    I have one this and when I’m practicing with my band it’s just perfect and I love it, but when I’m at the gig I have to change a lot of things on my pod even if I’m using the same numbers like (1.c) or (2.a) it still will take me like 30-60min just to come close what I’m using when I practice,,,, but its still ok,,,


    Also I’m not satisfied with downloaded sets ,,,,,most of them are horrible ,,,and almost at every downloaded set I still have to work on them to get what I wanted.

    And with line 6 bass pod you can’t use gearbox which took me 2 weeks to figure out the damn line 6 edit (I thought I could use gearbox)


    Anything would help me and the others

    Thnx
     
  2. DanielleMuscato

    DanielleMuscato

    Jun 19, 2004
    Columbia, Missouri, USA
    Endorsing Artist, Schroeder Cabinets
    Heyo toolarmy, I'm a little confused... What's your question? You just mean about why the tones at the gig aren't the same as the tones during rehearsal?

    Presuming you're using the same amp/cab, it sounds like a monitoring issue. The POD xt Lives model speaker cabs and mics on those cabs, as well, for purposes of recording directly, or running straight into the board live. If you are running direct to the board live, you will want to engage the cab & mic modeling or it will sound very sterile (inversely, if you are running into an amp/cab and then mic'ing the cap, disengage the cab modeling).

    There is a switch on the back of the POD that says "LINE/AMP" and it also has a level control. Just make sure you've got it set to the right one, depending on if you're running a line to the board, or into an amp.

    Hope this helps!
     
  3. toolarmy

    toolarmy

    Sep 15, 2008
    @Dave Muscato ---I am running into the board live, and I actually will play tomorrow and if you have any specific instruction I will try it tomorrow,,,,,

    Anyway I a appreciate your interest helping me
     
  4. DanielleMuscato

    DanielleMuscato

    Jun 19, 2004
    Columbia, Missouri, USA
    Endorsing Artist, Schroeder Cabinets
    During rehearsal, are you running into an amp, or into a mixing board directly?

    If you're running into an amp @ rehearsal but into the board live, I'm sure that's where your difference is coming from. The POD is designed to be able to go either way, and that's what the switch on the back marked "LINE/AMP" is for. For rehearsal (if you're going into an amp), switch it to AMP; when you're playing live and going direct to the board, switch it over to "LINE." It will still sound different because most likely the Line6 amp/cab model is not modeling your exact amp & cab brand, but here's what I recommend: Use a good pair of headphones (or studio monitors, if you have them) to dial in your exact tones that you want to use live, and save those. Make sure the switch is set to "LINE" when you do this. Then, when you are playing live, just plug into the board, and presuming that you're playing through a quality, transparent PA system with no effects at the board and no EQ except to adjust for the room, you should get very close to the same sound as your headphones.

    In theory, you should simply be able to switch the little thing on the back to "AMP" and use the same settings through your rehearsal amp, and get the same tones. You'll only get exactly the same tones if the amp & cab models provided by the Line6 are the same as your actual rig, so it most likely won't be perfect and could sound quite different.

    If you really want to get exactly your ideal tones for both live/studio direct, and also through your individual amp @ rehearsals, you can always set these tones separately, and save them to a new bank. So, for example, you could use banks 1, 2, 3, 4, and 5 (A, B, C, and D on each) for playing live (direct to the board), and set those tones using headphones, with the switch set to "LINE."

    Then, separately, program banks 6, 7, 8, 9, and 10 (A, B, C, and D each) to your ideal tones while the Line6 is plugged into your amp, and the switch on the back of the unit is set to "AMP."

    It will take some time to do all that programming, but once you do it once, you won't ever have to do it again, and you can get extremely consistent tone from venue to venue and also in the studio.

    I actually have 4 sets of tones that I use, depending on which bass I'm using and which rig I'm using. I have 4 main tones that I use, and I use bank 1 (A, B, C, and D) for my #1 bass (a Ristola) while running direct for those 4 tones. I programmed 1A to be a nice, normal, ideal, clean tone for my Ristola, which I programmed while using studio headphones. 1B is a grittier rock tone with good penetration, again optimized for my Ristola while running direct. 1C is a distorted tone for full-out soloing and for substituting for a rhythm guitar tone, if I'm playing in a power trio format and the guitarist is soloing. 1D is a super-funky tone optimized for slap, with some synthy tones programmed for the stompboxes.

    Bank 2 is exactly the same deal, except with the tones optimized for my backup bass, my MTD, again also optimized for running direct. If my Ristola fails while playing live, all I have to do is switch basses, change banks from 1 to 2, and keep going, without worrying about different output levels or different EQ affecting the overall mix.

    Bank 3 is exactly the same as Bank 1, except optimized for playing through my Crown K2 power amp and Schroeder cabs, instead of going direct. With the cab & mic modeling turned off (the switch on the back set to "AMP"), I programmed these tones while running through my Crown & Schroeder, starting with a copied & pasted Bank 1 and making adjustments for the unique mid-thump tone of a Schroeder.

    Bank 4 is exactly the same as Bank 2 (optimized for my MTD), and again I programmed those 4 tones (A, B, C, and D) by starting with a copied & pasted Bank 2, then turning off the cab & mic modeling (switch set to "AMP"), and making adjustments to optimize them for on the coloring from the Schroeder.

    All the rest of the banks are various tones I use for session recording (running direct) with my Line6 Variax basses.

    Hope this helps! It sounds complicated, but it's actually not at all, and like I said, you just have to do this once for your specific gear, and you're set from then on for every venue you play.
     
  5. toolarmy

    toolarmy

    Sep 15, 2008
    I actually will print this right now and I will try to go like you said,,,

    About headphones I probably will work tonight to get fix it through headphones,

    During rehearsal I use an amp 150w 8ohm it’s a good one but it’s not good for carrying its too damn big.

    At home I use a studio monitor through my pc

    At the gig we use e mixer,, from line 6 strait to the mixing board and mixing boards sometime su cks.(depends where we play)


    Thanks for you help and I will probably write back here on Sunday or Monday ,,and I will let you know

    Thanks again
     
  6. DanielleMuscato

    DanielleMuscato

    Jun 19, 2004
    Columbia, Missouri, USA
    Endorsing Artist, Schroeder Cabinets
    Just remember that the main thing with Line6 gear is that you have to take the time to tweak it. A lot of people give up on Line6 gear or give it bad reviews because they expect it to sound killer right out of the box; musicians in general are not used to needing to read a 3/4"-thick manual when it comes to preamps. The versatility, convenience, and TONE are worth the efforts. Every cab sounds different and every bass sounds different and every bassist's tastes are also different. Line6 wasn't psychic when it comes to programming their stock tones for what bass and what cab you're using and what your personal tastes are, LOL. Don't give up; delayed gratification absolutely pays off in this case, trust me!

    I tell people who haven't used Line6 gear before, think of it this way... How long would it take you to get your perfect tone out of a room full of killer amps? You couldn't just plug your bass or guitar into each one in turn, turn it on, and start playing. You'd expect to and need to spend a few minutes or so just to adjust the EQ, set levels, perhaps use a compressor or some drive, perhaps reposition or swap mics, etc. You could spend hours tweaking one tone from one mic on one amp with one bass in the studio if you wanted to. Because the Line6 PODs are all-inclusive (preamp/head, cab, effects, and microphone modeling in one—the whole signal chain except the bass itself), there are a lot of variables and patience pays off.

    The Line6 is no different. Expect to spend at least a few minutes adjusting EACH PATCH until it sounds good to you. Just like getting 20 great tones out of 20 great amps in a studio, it will take a few hours to get 20 great sounds out of the Line6.

    Also, keep in mind that simply not every bass will sound great with every amp & cab & mic combo. Some amps just plain do not work with certain basses. It's like pairing wine. You can have a great bottle of wine, and a great steak dinner, but that doesn't mean that they'll go together and equal a great meal. A Kistler chardonnay is a great wine, but you will just frustrate yourself drinking it with a filét mignon barded in bacon. Similarly, if a tone just isn't working on your Line6 even if you've tweaked it a lot, try a different amp, cab, or mic model, or try just turning off the cab & mic modeling altogether and see what happens. I know a lot of guys who use their PODs simply for the effects modeling and don't even other with the *amp* models, LOL, preferring just to run direct using the "bypass" preamp setting.

    Hope this helps. Definitely let us know how it goes or if there's anything else we can do.
     
  7. seafoamgreen

    seafoamgreen

    Oct 21, 2007
    Oakland, CA
    Curious to hear more from POD players who use theirs at gigs. Are you running the amp emulation out to the PA via 'LINE'? Not too familiar with how PODs work...

    If so, it seems to run counter to the whole 'clean signal out through a DI' approach that I've had most sound guys use. That said, there's still the occasional sound guy who mics my combo (an Ashdown 1x15).

    I don't feel the need to have a huge head/cabinet combo on stage, given that the PA is what's controlling my sound. But I wouldn't mind a bit more sonic control through something like a POD.
     
  8. toolarmy

    toolarmy

    Sep 15, 2008
    Here we go

    On Friday like I said I will work with my headphones and try to fix and get what I wonna it to sound at the gig, so basically my sound was like close to bass player from Audioslave/RATHM Tim Commerford, and we played <show me how to live, man in the box, jeremy, animal and so on,,,, so after 20min pause we wanna to play something from the doors, so it&#8217;s not that I sounded bad but it was still not what manzarek&#8217;s keyboard bass sounds, and I try some other banks but didn&#8217;t work good .

    And I was thinking since I&#8217;m using a line six and line six has a lot of opportunity to explore different kings of artist so I should sound the exact how manzarek does ,,but I still how to get more familiar with line 6 cause I&#8217;m not too much ,,,,,,

    I still didn&#8217;t have time to do all of that what Dave Muscato has written above but I probably have to do that soon ,,,,,,all I did was explored with my headphones and I set the connection up like I am running through the mixing board ,,,

    So I was connected::

    Input: PAD
    Output: Line/
    : Left Mono


    But sure it was better then other times

    Thanks a lot to Dave Muscato

    For anything I find out or have a problem I probably write back, I hope I can fix it till my next gig, which would be hmhm next 10 days
     
  9. DanielleMuscato

    DanielleMuscato

    Jun 19, 2004
    Columbia, Missouri, USA
    Endorsing Artist, Schroeder Cabinets
    One of my complaints about the XT Live is that you can't run both a signal WITH the cab modeling and another, separate signal WITHOUT the cab modeling simultaneously. This means a couple of things:

    - If you are running to both the PA and an amp on stage, you have to choose between have no cab/mic modeling in the house, or doubling up and have cab/mic modeling running into your cab, which will seriously change your on-stage tone and mess with your perception of how you sound as far as monitoring accurately

    - If you want to run to both the PA and your amp, you can use the LEFT/MONO out for one and the RIGHT out for the other, but then you can't use any stereo effects like chorus or ping-pong delay.

    The POD xt Live does have a headphone out, and if you're careful about levels, you could use this as a stereo output to the board, leaving the main L/R outs free to go to your amp. However, you'd still have the problem of choosing between LINE mode (cab & mic modeling) or AMP mode (no cab or mic modeling).

    As I understand it, the new POD X3 Live addresses this issue by having two separate sets of outputs. The line outputs on the X3, additionally, are XLR (two of them), and the amp outputs are 1/4" (on the XT Live, there are just two 1/4" outs, L/MONO and RIGHT, and a switch for AMP/LINE). Both models have stereo headphone jacks.

    If you do like I do and use a power amp + cab, instead of a head, it matters less. I use the LINE setting on mine, which means the sound coming from my cab does have cab & mic modeling already on it, but I just use a Crown power amp, so at least there's no amp modeling doubled up, too. The proper signal of amp modeling + effects modeling + cab modeling + mic modeling goes to the house. Most of the time, though, I'd say at about 80% of my gigs, I use in-ear monitors, and no amp on stage, just running my Line6 to the house by itself and monitoring that tone directly.

    The idea behind the clean-signal-out-through-the-DI-to-the-house is really not that it's better tonally; it's just convenient as far as isolation and set-up/tear-down. It's true that basses depend less on the amp part of the signal chain for their tone than guitars, but a great amp is still an important part of bass tone, and you don't want to completely cut that out when there's a way to model it instead. Ideally, what would go into the DI is not your bass signal directly, but a good microphone on your favorite, well-isolated bass cab, powered by an amp head of your choice. Even acoustic guitars sound a lot better with a preamp in between, and they sound the best when the signal feeding the DI is in fact a mic positioned in front of the guitar, not through a pick-up. In my opinion, the only instruments that really sound good direct are instruments that are designed to go direct: Synths, keyboards, electronic drum sets, etc.

    You could run an electric guitar through a DI box and into the house, too, but you very rarely see that, because electric guitars tend to sound like crap when run completely dry & direct. In my humble opinion, so do basses. They sound much better through a nice amp mic'ed up properly, or at least through a Line6 model of one.

    There's a good reason that touring pros who use in-ears all around still haul their SVTs and mic them up, instead of just using a direct box: It sounds better that way.

    victor1.jpg
    ^ Vic Wooten; notice the Shure KSM on the mic stand for ambient coverage through their in-ears

    [​IMG]
    Aerosmith's Tom Hamilton & his rig

    [​IMG]
    TBer Johnny April of Staind's live rig

    There are many more examples. Even when there are no amps on stage, a lot of times, backstage, there is an amp mic'ed up, even if it's a smaller one.

    For most small clubs where the room acoustics matter a lot more than whether your amp is part of your signal chain or not, it doesn't really matter, and a DI box is fine. But for bigger shows at clubs (as opposed to bars), IME, most pro sound guys expect and are prepared for you to want your amp mic'ed, if you're not using some kind of amp modeling. My 2 cents...
     
  10. SteveC

    SteveC Moderator Staff Member

    Dave,

    I enjoy reading your posts on the PodXT. I have tried a Pod a couple times and liked it enough but have always gone back to just my amp because of a couple things. The "I use a stage amp and FOH" thing is tough. I also wish there were XLR outs on the bass pod. I guess I could just get the X3 but it seems like it isn't necessarily bass friendly. Maybe I haven't read enough yet.

    Keep posting, you may get me to try one again.
     
  11. stflbn

    stflbn

    May 10, 2007
    Nashville
    X3 is very bass friendly as far as I'm concerned & being able to flip back and forth or merging the tones of different rigs is really cool and powerful sonically. And it has the benefit of being able to tweak the output frequencies of everything going out of the unit without changing the patches. Meaning, when you walk into a new venue you don't have to tweak patches, you just adjust the Low/Mid/High going out of the unit to your Combo, or Amp/Cab for thte specific room to suit.

    Worked very well for me. I just ended up not 'needing' everything it could do.
     
  12. Ric5

    Ric5 Supporting Member

    Jan 29, 2008
    Colorado
    I disclose nothing
    My experience with the bass pod is that all of the factory presets suck. Also it is complex and difficult to learn. But once you get past those 2 things the pod is awesome. I save 4 patches that I like to use a lot and live with those when I play with a band. I use the old 1st version of the pod because it has an amp model that I like that is not in the newer version. I also use my pod as one of 4 parallel lines of effects.

    pedal.jpg

    I split the signal into 4 parallel signals with a rolls mixer.

    1 - I run one into the Line6 bass pod where I model an ampeg flip top amp with a rat distortion pedal. I use this to get a retro growlly distorted sound.

    2 - The second signal goes into a Mxr bass di+. I use this pedal to get a clean modern sound. It also has a distortion button that can give a moderate to extreme amount of modern distortion.

    3 - The third signal goes into a Marshall Guv'nor. This gives me an old 60s marshall stack sound. This can go from a small amount of distortion to an over the top marshall sound. This effect can give you a Chris Squire Yes sound or a heavy metal sound, or just a subtle amount of distortion.

    4 - The fourth signal goes into a Tech21 vt bass pedal. With this effect I get a slightly dirty Ampeg SVT bass amp sound with a tube like growl.

    Then I remix the 4 signals back together and run it into a bass amp, or pa, or studio mixer. Because the signals are parallel I can mix clean and overdriven sounds together and still get effect and a sound that punches through the mix.
     
  13. SteveC

    SteveC Moderator Staff Member

    I have always thought your pedal set up was very interesting, Ric5.
     
  14. toolarmy

    toolarmy

    Sep 15, 2008
  15. DanielleMuscato

    DanielleMuscato

    Jun 19, 2004
    Columbia, Missouri, USA
    Endorsing Artist, Schroeder Cabinets
    Depends on what you're using it for. I've love to get an X3, personally, because I also play guitar, and I really wish my XT Live could run two sets of outputs simultaneously. The XT Live is great for running direct, recording, running to a power amp+cab or head+cab, especially if you want a ton of different amp & effects models. If you can afford it, the X3 is even better. I got mine for free as part of a promotion when I bought my Variax 705, but if you asked me before the X3 came out, I would have paid $500+ for it, and it still would have paid for itself more than once, LOL.
     
  16. I use a Bass Pod Pro (the first generation one) and I found it very frustrating at first. It was great with headphones but sounded really weak when I used it as a pre-amp to drive my power amp and Eden cabs. Like others have said it took a lot of fiddling and programming to get it to sound good at gig volume. I seldom go through the board so I almost always use it as backline. The patience of my band started to wear thin with the continual tweaking and with the lack of really punchy bass tones, so eventually I hired a rehearsal room for the day and went in on my own to start from scratch.

    Coincidentally, I now use it pretty much like Dave Muscato in that I have bank 1 set up with crucial sounds for my Ric 4001. Location 'A' is always the core sound on any bank and for the Ric it contains what I hope is 'my' sound, followed by a slightly toppier sound in 'B', the obligatory 'Squire' sound using the Marshall amp model (forget which one) in 'C', then a McCartney-esque sound in 'D'.

    Bank 2 is set up for my fretless five and once again has a nice core sound in 'A', a maximum 'Mwaaaah' setting in 'B' for solos, a more thuddy tone in 'C' for the closest I can get when playing with my thumb and damping with my palm to emulating an upright. 'D' has got a Pino sound using the octave divider - left over from when I used to play in a band that covered Paul Youngs version of 'Tear your playhouse down'

    Bank 3 & 4 are set up similarly for my back up basses and there are a couple of presets for my electro acoustic.

    So, I'm quite happy with it now even though it is around 5-6 years old. I've thought about upgrading to the later model, but it ain't broke so why fix it?

    It did require a lot of setting up and I was bewildered (and quite frustrated) with the sheer choice of amp models, cab options, eq options (there are more lurking in sub-menus) and effects.

    One tip that I will pass on is that it's quite easy to find a good core sound and then mess around with it in an effort to tweak it to perfection, only to get completely lost and end up wondering whether the sound you've arrived at is any better than the first. So once I had got a reasonable core sound I saved it into two locations, then just messed with one of them so that I could always A/B the two.

    Lot's of work, but know being able to flip between 'Chris Squire' and 'Pino' with a change of bass and a flick of a switch is fantastic
     
  17. ok i think i know where you problems are coming from toolarmy.

    as many others on TB have noted in the past the pod series is a PAIN IN THE BUTT to program well. i have both the BPXTL and the X3 and yea its hard work getting the settings right and yes it takes A LOT of time to get it working............. BUT once you have mastered the editing system and managed to get the output levels set across the patches you use under control its real simple.

    the thing is toolarmy, you need to sit and monkey with the thing. set aside an afternoon at a weekend or something, link it to the pc if you can as line 6 edit makes short work of programing the unit and it also lays the controls out in a more 'familiar' setting if the pod menus are confusing you (it happens to us all).

    the best actual editing advice i can give is start with a patch you like from the presets and go from there. but once you get to know the sounds and limitations of the pod really start messing with the effects on offer. try an ampeg head with like a fender speaker or a marshall head and a tiny speaker then mess with the eq to make it HUGE.
    by doing this it makes getting the sounds 'you' want out of the machine.

    one last bit of advice is that we as bassists are in a part of the music where variance of tone is frowned upon, be it good or bad thats where we unfortunately stand so having one all round 'good' sound that works for most songs and will do for the rest is a good thing to have.
     
  18. DanielleMuscato

    DanielleMuscato

    Jun 19, 2004
    Columbia, Missouri, USA
    Endorsing Artist, Schroeder Cabinets
    I once went to a restaurant that claimed to serve everything&#8212;and they did, from fresh steamed lobster out of a tank, to kugel, to Szechwan eggplant, to ravioli, to hundreds of different types of sandwiches, etc. The menu was about 30 pages, front & back. I must have spend half an hour looking at it. After awhile, I just ordered a turkey sandwich because I was tired of trying to make up my mind.

    Sometimes I wonder if the Variax bass would have sold better if it only had the P-bass with flats, P-bass with rounds, Stingray, epoxied fretless Jazz, and maybe one or two others.

    Humans are cultural animals and we crave structure. Too little structure and we just get frustrated and feel lost. Structure = choices = innovation and progress and creativity. Lack of structure = paralysis, in my experience.
     
  19. You are right about the Variax, but only if one of the "one or two others" was a Ric.

    I've often thought about getting a 5 string Variax, but coupled with a pod the permutations would be endlessly bewildering at first. It is just like you say, when I go for breakfast in the States the waitress hovers over me saying "how do you want your eggs, boiled, poached, fried? over easy? Scrambled, in an omelette? OK regular or eggbeaters? Do you want white toast, brown toast, lightly cooked, dark toast, rye toast, do you want that with butter, low fat spread, no fat spread, mayo....

    Noooooooo I just want my breakfaaaaaaaast
     
  20. Primary

    Primary TB Assistant

    Here are some related products that TB members are talking about. Clicking on a product will take you to TB’s partner, Primary, where you can find links to TB discussions about these products.

     
    Jul 23, 2021

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