Line 6 Pod Hd500X Owners Manual

line6-pod-hd500x-advanced-guide

2014-07-19

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POD HD500x
®

ADVANCED guide

Rev A

Electrophonic Limited Edition

Table of Contents
Overview............................................................................................. 1•1
Home Views.....................................................................................................1•1
Tuner Mode......................................................................................................1•3
Tap Tempo........................................................................................................1•4
Connections.....................................................................................................1•4
POD HD500X Edit Software............................................................................1•5

System Setup...................................................................................... 2•1
Accessing System Setup................................................................................2•1
Page 1, Setup: Utilities Options......................................................................2•1
Page 2, Setup: Utilities Options......................................................................2•3
Page 3, Setup: Input Options..........................................................................2•3
Page 4, Setup: Output Options.......................................................................2•7
Page 5, Setup: S/PDIF Output Options..........................................................2•9
Page 6, MIDI/Tempo Options........................................................................2•10
Page 7, Setup: Variax Options......................................................................2•11
Page 8, James Tyler Variax Tuning Options.................................................2•16
Page 9, Setup: L6 LINK Audio .....................................................................2•17
Page 10, Setup: L6 LINK Control..................................................................2•18

Features & Functionality..................................................................... 3•1
FX Blocks..........................................................................................................3•1
Amp Blocks......................................................................................................3•3
Mixer Block.......................................................................................................3•3
Moving FX Blocks............................................................................................3•4
Expression Pedal & Variax® Knob Controller Assignment...........................3•6
FX & Amp Block Footswitch Assignment......................................................3•9
Dynamic DSP.................................................................................................3•13

Set Lists & Presets.............................................................................. 4•1
Working with Set Lists.....................................................................................4•1
Working with Presets.......................................................................................4•4
Saving Presets..................................................................................................4•6

FX Edit Mode....................................................................................... 5•1
Accessing FX Edit Mode.................................................................................5•1
FX Loop............................................................................................................5•4

Amp, Cab & Mic Models..................................................................... 6•1
Amp Model Positioning...................................................................................6•1
Selecting Amp, Cab & Mic Models.................................................................6•3
Editing Amp Parameters..................................................................................6•6
Amp & Cab Edit Display..................................................................................6•6
Amp/Preamp Models.....................................................................................6•11
Cab Models....................................................................................................6•14

FX Models........................................................................................... 7•1
Dynamics Models............................................................................................7•1
Distortion Models.............................................................................................7•2
Modulation Models..........................................................................................7•3
Filter Models.....................................................................................................7•4
Pitch Models.....................................................................................................7•6
Preamp+EQ Models........................................................................................7•8
Delay Models..................................................................................................7•10
Reverb Models...............................................................................................7•11
Volume/Pan & Wah Models...........................................................................7•13

Looper Mode....................................................................................... 8•1
Looper Footswitch Controls & Performance View........................................8•1
Looper Settings................................................................................................8•5

USB Audio........................................................................................... 9•1
The Line 6 USB Audio Driver...........................................................................9•1
The Line 6 Audio-MIDI Devices Panel............................................................9•3
Mac® - Line 6 Audio-MIDI Devices................................................................9•3
Windows® - Line 6 Audio-MIDI Devices.......................................................9•9

Appendix A: Line 6 Monkey™....................................................A•1
Launch Line 6 Monkey................................................................................... A•1
Line 6 Variax Updates..................................................................................... A•3

Appendix B: MIDI................................................................................ B•1
MIDI Input & Out/Thru..................................................................................... B•1
Bank & Program Change Messages............................................................. B•3
Using POD HD500X as a MIDI Controller Device......................................... B•5

Line 6, POD, DT50, DT25, Variax, James Tyler, StageSource, L6 LINK, CustomTone and Line 6 Monkey are trademarks of
Line 6, Inc. All other product names, trademarks and artists’ names are the property of their respective owners, which are
in no way associated or affiliated with Line 6. Product names, images, and artists’ names are used solely to identify the
products whose tones and sounds were studied during the Line 6 sound model development for this product. The use of
these products, trademarks, images, and artists’ names does not imply any cooperation or endorsement.
Copyright © 2013 Line 6, Inc.

Overview

Overview
Welcome to the POD® HD500X Advanced Guide. This guide contains in-depth details
of the POD HD500X features and functionality. Please be sure to also read through
your POD HD500X Pilot’s Guide for basic info on POD HD500X and this Guide will take
it from there! In this chapter, we’ll present an overview of the main screens and features
to get you started.
This Guide covers POD HD500X with Flash Memory version 1.01 (or later) installed. Please use
Line 6 Monkey to check for and install the latest updates for your device - see “Launch Line 6
Monkey” on page A•1.

Home Views
SAVE
P R E S E TS

HOLD FOR SYSTEM & I/O

VIEW

The place to start is in one of the Home View screens. Press the VIEW button to
rotate through the 3 available Home Views. While in any of these Home View
screens, you can turn the PRESETS knob and call up a Preset in the current
Setlist, or push the PRESETS knob to select from among other Set Lists!

Signal Flow View
The Signal Flow View displays all Amp & FX “Blocks” and their ordering for the current
Preset. As you’ll see in several of the following chapters, this is the screen where you’ll
“select” the desired Block to perform other actions, such as choose a new Amp or FX
Model, edit its parameters, move its position, and more.
Currently loaded Preset
location and title

Parallel Paths A (upper)
and B (lower) with Mixer
Block

Use the
and
Nav.
Disc buttons to select the
desired Block
FX Blocks within
FX Blocks within
Amp Blocks “Post” position
“Pre” position

Looper

The items within the Signal Flow View

The signal flow architecture of each Preset is comprised of 3 main sections where Amp
& FX Blocks can be positioned: Pre, Post and parallel Paths A & B.

1•1

Overview

At the bottom of the Signal Flow View screen, you’ll see up to four parameters that are
accessed using the Multi-function knobs 1-4.

1•2

Accessing parameters with the Multi-select Knobs

These parameters are specific to the currently selected Block and allow you to choose
new Models & edit parameters. Or, you can dive deeper in the Edit Mode and access
additional settings in other screens, as covered in the following chapters.

Performance View
The Performance View screen displays the FX and/or Presets that are currently assigned
to your POD HD500X footswitches. Footswitches FS5 - FS8 can be configured to either
toggle FX On/Off, or to select Preset channels (see “Page 1, Setup: Utilities Options” on
page 2•1).

FX assignment for FS1-FS8

ABCD assignment for FS5-FS8

These FX assignments for FS1 - FS8 can be edited for each Preset (see “FX & Amp Block
Footswitch Assignment” on page 3•9). When the Looper is active, the Performance
View screen displays a set of Looper functions (see “Looper Mode” on page 8•1).

Overview

Big User View
This screen simply provides you with one BIG display of the currently loaded Preset
number - convenient for dark stages!

Tuner Mode

The Big User View

To enter Tuner mode, press and hold the TAP button. A few options are available,
adjusted using the Multi-function knobs.

The Tuner screen

Pluck an individual string on your guitar and you’ll see the name of the note displayed.
When the graphic bar is to the left of center, your string is flat; when it is to the right,
your string is sharp. When the bar is within the center range, triangles will appear
above and below it, indicating your string is in tune.

1•3

Overview

• Reference (Knob 1): If you’d like to tune to a reference other than standard
440Hz, select from 425 to 455Hz.

1•4

• Audio (Knob 2): Select Mute to silence POD HD500X output while tuning, or
select Bypass to hear your guitar dry.

Press the TAP switch, or any other footswitch, to exit Tuner Mode.

Tap Tempo

Tap Tempo is the term we use to refer to the “System Tempo” value that is
accessed via the TAP button on your POD HD500X device. Stomp rhythmically
to set your Tap Tempo. Alternatively, you can set a numerical Tempo value
within Setup (see “Page 6, MIDI/Tempo Options” on page 2•10). This setting is
saved per Preset.

You’ll see the LED on the TAP switch blink to indicate your current Tap Tempo BPM.
Tempo-based FX (Modulation, Filter & Delay FX) that offer a Tempo Sync parameter
can optionally be set to a note division of this Tap Tempo value.

Connections
PEDAL 2

GUITAR IN

CD/MP3
INPUT

UNBALANCED OUTPUT
L/MONO

R/MONO

BALANCED OUTPUT
LEFT

RIGHT

PHONES

AUX IN

MIC

LINE

STOMP

MIC LEVEL

FX RETURN

L/MONO

RIGHT

FX SEND

TRS STEREO

VARIAX

S/PDIF
OUT

INPUT

MIDI

OUT/THRU

USB

L6 LINK
CONNECT TO L6 LINK ONLY

POWER

9VDC 2.5A Min

Please refer to your POD HD500X Pilot’s Guide for descriptions of the rear panel
connections. You’ll find more details on their specific uses within the following chapters
as well!

Overview

POD HD500X Edit Software

Be sure to visit line6.com/software to download the Line 6 POD® HD500X Edit
software - the free patch editor/librarian for Mac® and Windows® computers. Using
POD HD500X Edit and a USB connection you can easily create, audition, customize,
backup/restore and save an unlimited number of Tone Presets for your device. You
can even utilize POD HD500X Edit while simultaneously using the L6 LINK or MIDI
connections!

The POD HD500X Edit application

1•5

System Setup

System Setup
In this chapter, we’ll cover the options for configuring your POD® HD500X system
settings.
Note that some System Setup options are “global” settings (they persist always, regardless
of the current Preset) while others are saved individually per Preset, as noted in the following
sections. You’ll want to be sure to save your Preset after changing settings of the latter type in
order to retain them.

Accessing System Setup

To access the System Setup options, press and hold the VIEW button. Here you can
configure several device functions, Input & Output settings and more.

SAVE
P R E S E TS

HOLD FOR SYSTEM & I/O

VIEW

Use the

Nav. Disc buttons to navigate through the several Setup pages.

Page 1, Setup: Utilities Options

2•1

System Setup

The top portion of the screen lists the Flash Memory and USB Firmware versions
currently installed on your POD HD500X device. The lower portion of the screen offers
four options, adjustable using the Multi-function Knobs 1 - 4.

2•2

• Footswitch Mode (Knob 1): Configures the function of POD HD500X footswitches
FS5 through FS8 for either “Pedalboard Mode” or “Preset Mode” (see “Accessing
Set Lists” on page 4•1). This setting is global.
Note that you can reference all current footswitch assignments in the Performance View screen,
which will change its display according to the Footswitch Mode you choose here. See “FX &
Amp Block Footswitch Assignment” on page 3•9.

• Amp Knobs Display (Knob 2): When set to “On,” allows the LCD screen to
momentarily display the actual Amp Tone Knob values whenever adjusting any
physical amp knob. This setting is global.
• Looper FS Display (Knob 3): When the LOOPER footswitch is toggled On to
engage Looper Mode, the Performance View screen automatically changes to
display Looper footswitch functions (see page 8•5). This setting is global. The
two selections here offer the following behaviors when Looper Mode is active:

• All Views: Shows the Looper controls in the LCD regardless of the currently
selected View.
• Performance View: Shows the Looper screen as the Performance View screen
(and allows the 3 Home View screens to still be displayed when toggling the
VIEW button).

Note that the Looper display’s icons represent what each footswitch will do when pressed, and
not the function that the Looper is currently performing.

• Trails (Knob 4): When set to “On,” allows the echo repeats and/or decay of Delay
and Reverb FX to continue when the Model is toggled Off. With the Trails option
“Off” the decay is muted instantly when toggling the Model Off. This setting is
saved per Preset.
• The FX Loop also utilizes Trails - bypassing the FX Loop with this feature
enabled causes the Return to remain active while the Send is shut Off.
• The Trails feature does not provide a “spillover” of the FX decay when changing
Presets.

System Setup

Page 2, Setup: Utilities Options

2•3

The options at the bottom of the screen are as follows - all are global settings:
• LCD Contrast (Knob 1): Adjusts the screen’s contrast.

• Tap Tempo LED (Knob 2): Choose “On” to have the LED light for the TAP
footswitch flash to indicate the current Tap Tempo value. Choose “Off” to have it
remain unlit.
• AC Frequency (Knob 3): All HD Amp Models include simulation of AC hum,
typical of the AC Vacuum Tube Heater component - an important part of the
tonality of a tube amplifier. Set the AC Rate to match that of the USA (60Hz) or UK
(50Hz) frequency for authenticity. (This setting may be subtle depending on the
current Amp Model settings, and may be more apparent when synchronizing this
setting with the AC rate of any tube amplifier that POD HD500X may be plugged
into.)

Page 3, Setup: Input Options

The Inputs Setup page allows you to select which of the device’s audio inputs are used
as the “source” – sort of like a built-in, programmable patchbay. There is also a control
which adjusts the Guitar input impedance.

System Setup

2•4

• Input 1 and Input 2 Source (Knobs 1 & 2) - Select the physical input(s) that
you want to be the “source” fed into the signal path. Note that you can choose
different Sources to independently feed each signal path, or choose Same to
feed a common Source into both paths.
• The Variax and Variax Mag Input Source options are provided for Line 6
Variax® guitars when connected into the POD HD500X Variax Digital Input
(VDI).
• With a James Tyler® Variax® (JTV), the “Variax” Input Source receives the
Model or Magnetic signal, depending on the JTV’s Model switch settings.* The
“Variax Mag” Input Source receives only the JTV’s Magnetic Pickup signal.
*Note: With a JTV in use, the “Variax” Input Source selection also recalls whether you were using
mags or models per preset, allowing you to pick up exactly where you left off – no need for
manual selection or input changes.

• If you own a first-generation Variax instrument, it is recommended to choose
the Variax Input Source option. Please also refer to your Variax documentation.
• Guitar In-Z (Knob 3) - Select the input impedance of the Guitar input. This feature
affects tone and feel because your guitar pickups are being loaded as they would
be by an effect pedal or a tube amplifier.
Note: The Guitar In-Z setting affects the GUITAR IN input only. Please see the Impedance Ratings
table at the end of this section to reference the input impedance of each individual model.

• The Auto option dynamically sets the input impedance to match the input
impedance of the very first Amp or FX model in your POD HD signal chain.

System Setup

• Or, you can manually select from a variety of impedance values from low to
high (22k, 32k, 70k, 90k, 136k, 230k, 1M, or 3.5M).
A lower value will typically result in some high frequency attenuation, lower
gain and overall “softer” feel. A higher value provides full frequency response,
higher gain and overall “tighter” feel.
• Inputs Setup (Knob 4) - Determines whether the other 3 options in this Inputs
screen are applied per preset, or globally.
• Preset - Recalling a preset will load the Input 1 Source, Input 2 Source and
Guitar In-Z parameter settings as last saved with the individual preset.
• Global - Once the “Global” option is selected here, the other three Input
options’ values on this Setup page (Input Sources 1 and 2, and Guitar In-Z) are
utilized globally, regardless of their values that are saved with each individual
preset.
The Input values you choose on this Setup page are
then retained independently for the Inputs Setup - Global option. When you
change the Inputs Setup back to “Preset,” the Input options’ values saved
with each individual preset are once again utilized.
Note: Saving a preset while this option is set to “Global” will write the current global Inputs and
Guitar In-Z values to the individual, saved preset.

Amp & FX Model - Guitar Input Impedance Ratings
Model
Guitar Input Impedance (Ohms)
Amps & Preamps
All Amp & Preamp Models

1M
Distortion FX

Screamer

230k

Color Drive

136k

Buzz Saw

230k

Facial Fuzz

22k

Jumbo Fuzz

90k

Fuzz Pi

22k

Octave Fuzz

230k

All Other Distortion Models

2•5

System Setup

Amp & FX Model - Guitar Input Impedance Ratings
Model
Guitar Input Impedance (Ohms)
Dynamics FX
All Dynamics Models

2•6

1M
Modulation FX

Dual Phaser

230k

U-Vibe

90k

Analog Chorus

22k

All Other Modulation Models

1M
Filter FX

All Filter Models

1M
Pitch FX

All Pitch Models

1M
Delay FX

Multi Head

22k

Analog Echo

230k

Analog w/Mod

90k

All Other Delay Models

1M
Preamp + EQ FX

All Preamp & EQ Models

1M
Reverb FX

All Reverb Models

1M
Wah FX

Weeper

90k

All Other Wah Models

1M
Volume & Pan FX

All Volume and Pan Models

System Setup

Amp & FX Model - Guitar Input Impedance Ratings
Model
Guitar Input Impedance (Ohms)
FX Loop
FX Loop

About Source Input Signal Routing:
It is important to note how POD HD500X actually routes Source Inputs 1 and 2 through
Amp & FX Blocks that are positioned “Pre” position. The following behaviors apply:
• In a configuration with no Amp or FX Blocks in Pre, Input 1 is fed only to Path A
and Input 2 only to Path B. Therefore, this is the best configuration if you want to
retain discrete Input Sources into Paths A & B.
• Placing an Amp Block or an active mono FX Model in Pre results in a “mix-down”
of Input Sources 1 & 2, feeding the same, combined signal into each Path A & B.
• Placing a Stereo FX Model in Pre results in the left channel FX output being fed to
Path A and its right output to Path B.*
• The Mixer Block’s Volume and Pan options provide independent control for Path
A & B outputs before they are fed through any Blocks positioned “Post” the Mixer.
• By setting Input 2 to “Same,” this effectively routes your Input Source to both
stereo Paths A & B (which is how you can feed one guitar input into two Amp
Models and/or parallel FX, for example).
*Please also see “Model Types and Mono/Stereo Signal Routing” on page 3•5 for more
about how mono and stereo FX affect your signal chain.

Page 4, Setup: Output Options

The Mode setting on this page allows you to configure the type of signal fed to your
POD HD500X analog outputs to optimize for direct recording versus connecting to an
external amplifier.

Note that this Mode setting affects the signal fed to several POD HD500X outputs: Balanced,
Unbalanced & Phones outputs as well as USB Record Send & L6 LINK audio outputs.

2•7

System Setup

2•8
Knob 1 selects the Output Mode. This is a global setting.
• Studio/Direct: Typically the best option when connecting “Direct” to a mixing
console or recording device. This signal includes “Studio” Cab Models, Mic
Model and an “AIR” convolution to best emulate a mic’ed amp within a room.
• Combo and Stack settings: Optimizes your tone for connecting to an external
amplifier. The signal includes “Live” Cab Models,with no Mic Model or “AIR”
convolution, with a special EQ curve added for each.
• Combo Front & Stack Front: For connecting into the front input of a typical
combo amp or amp head + external cab, respectively. When choosing either
of these Modes, you’ll see the following additional options for further tone
shaping:

• Lows (Knob 2): Attenuates the low frequencies.
• Focus (Knob 3): Increases the overall midrange.
• Highs (Knob 4): Attenuates the high frequencies.
• Combo Power Amp & Stack Power Amp: For connecting to the power amp of
a combo or head amp.
TIP: When using the Combo or Stack options and connecting into a tube amplifier, we also
recommend that you choose a Preamp Model from the Amp Model menu (rather than one of the
“Full” Amp Models). HD Preamp Models include no power amp emulation, making them typically
better suited for this connection. That said, there is no wrong choice! PODs have always been about
flexibility... Check out all the possibilities and decide which Models work best for your tone!

System Setup

Page 5, Setup: S/PDIF Output Options

2•9

These options are strictly for configuring the signal fed to the S/PDIF OUT. Use this 24bit digital connection when connecting to the S/PDIF input of other devices, such as a
computer audio interface or digital mixing console.
Note: When connecting to another digital device, it is best to clock the external device to
follow POD HD500X to maintain proper synchronization - please see your digital device’s
documentation for its digital clock features.

• S/PDIF Output (Knob 1): Selects the type of output mode signal: Match Outputs
(uses the setting as configured on the Setup:Outputs screen - see page 2•8)
or Dry Input (your Source Input signal with no Amp, Cab, Mic, “E.R.” or FX
processing applied).
• Sample Rate (Knob 2): Selects the sample rate: 44.1kHz, 48kHz, 88.2kHz or
96kHz. When connecting to another device’s S/PDIF input, always be sure to set
both units to utilize the same sample rate.
• S/P Level (Knob 3): Increases the amplitude of the S/PDIF signal: 0 dB.

System Setup

Page 6, MIDI/Tempo Options

2•10

• MIDI Channel (Knob 1): Sets the “System” MIDI Channel that POD HD500X
utilizes for both receiving and sending MIDI communication via the MIDI DIN
Input/Output. Choose any individual Channel 1 - 16, or “Omni” for all Channels.*
This is a global setting.
*Note: The MIDI Channel selected here also affects the MIDI Channel settings utilized by L6 LINK
- see “Page 10, Setup: L6 LINK Control” on page 2•18.

• MIDI Out/Thru (Knob 2): Allows the MIDI Out DIN to be switched between a
MIDI Output versus MIDI Output + Thru.
• Tempo Sync (Knob 3): The “Speed” or “Time” parameters of all tempo-based
FX (Modulation, Pitch & Delays) can optionally be set to a note value to follow
the (Knob 4) Tempo BPM value. This Tempo Sync option is a global setting that
allows you to choose whether the FX follow the Tap Tempo as a per-Preset value
or globally.
• Preset: Tempo settings are saved and recalled on a per Preset basis.
• Global: Tempo information stored within any Preset is ignored. When saving a
Preset while this option is set to “Global,” the current tempo value will be saved
with the Preset.
• Tempo (Knob 4): Enter in a specific “Tap Tempo” for your current Preset (as
opposed to stomping rhythmically on the TAP footswitch). This value is saved
individually per Preset.

System Setup

Page 7, Setup: Variax Options

2•11

Setup Page 7 - No Variax connected

Setup Page 7 - James Tyler Variax connected

As illustrated above, Setup page 7 will display additional, model-specific options when
a Variax instrument is connected to the POD HD500X VARIAX (VDI) input. The specific
Variax family and its firmware version are displayed at the top right of the screen when
the Variax is connected.
Available options and behaviors displayed will differ depending on the Variax type and
model you have connected, as described in the following sections. With any Variax
connected to the VDI input, the Knob 1 option functionality is as follows.
• Variax Control (Knob 1): Choose whether you want to assign all your Variax
settings on this Setup pg 7 screen on a per Preset basis or Globally.*
• When set to “Preset,” all the parameter settings shown on the Variax Setup
screens (Setup pages 7 & 8) are saved and recalled individually per POD
HD500X preset. You’ll see additional options in the screen when you have a
Variax connected and choose “Preset.”
• When set to “Global,” this provides complete manual control over all Variax
functions, regardless what Variax settings you may have saved within the POD
HD500X presets.
*Note: For a James Tyler Variax (JTV) this will also determine whether the guitar’s Mag/Model
switch selection (as heard through the “Variax” Input Source option) will be recalled per Preset or
Globally.

Also note that the Setup Pg 8 - JTV Tuning Options are not affected by this Variax Control
setting. The Tuning settings are saved per Preset.

System Setup

James Tyler® Variax®
All James Tyler Variax (JTV) family guitars are supported. Also see “Page 8, James Tyler
Variax Tuning Options” on page 2•16 for even more JTV options!

2•12

• Variax Control (Knob 1): See page 2•11.

• Model (Knob 2): Selects the Variax Model & pickup position setting. Choose the
“Don’t Force” option if you prefer to not have the JTV local Model changed by the
Model value saved within the POD HD500X presets.
• Local Control (Knob 3): Determines whether the JTV Volume and Tone knobs,
and/or toggle switch are to remain active or be “locked.” When locked, the knob/
switch no longer controls the JTV guitar’s local functions for the Modeled output
of the guitar.*
*Note: When utilizing the Magnetic output mode on the JTV guitar, only the Volume knob is
“Locked” by any of the Local Control - Locked settings. For the Magnetic output, the Tone
and Pickup switch functions remain unlocked even when set to “Locked” via Knob 3. This
feature allows you to freely use the JTV Tone knob or Pickup selector switch when the JTV is
in the Magnetic pickup output mode, while keeping the Modeled settings still “locked” if you
prefer these Modeled settings to remain unchanged when you toggle back to Modeled output
mode!
Also note that when any of these JTV controls are locked, changing the JTV guitar’s Model
Encoder knob automatically always resets all to unlocked.

James Tyler® is a registered trademark of James Tyler Guitars.

System Setup

• Setting the JTV Volume and/or Tone knobs to “Locked” can be desirable when
the knobs are assigned to remotely control any POD HD500X Amp or FX
parameters - see “Expression Pedal & Variax® Knob Controller Assignment” on
page 3•6 for details.
• Tone (Knob 4): Allows the JTV Tone knob value to be saved with the current
preset, or applied Globally, per the Variax Control (Knob 1) setting.

Variax Electric
All first generation Variax Electric Guitars are supported.

• Variax Control (Knob 1): See page 2•11.

• Model (Knob 2): Selects the Variax Model & pickup position setting. Choose the
“Don’t Force” option if you prefer to not have the Variax guitar’s model changed
by the Model value saved within the POD HD500X presets.
• Local Control (Knob 3): This feature is not applicable for first generation Variax
instruments, therefore, no options are available.
• Tone (Knob 4): Allows the Variax guitar’s Tone knob value to be saved with the
current preset, if desired.

2•13

System Setup

Variax Acoustic 700
For a Variax Acoustic Guitar, you’ll see two Setup pages, 7a and 7b, to accommodate
the additional controls. Multifunction Knobs 1, 2 & 3 are common controls, shown on
both Setup pages. Knob 4 is unique on each page.

2•14

• Variax Control (Knob 1): See page 2•11.

• Model (Knob 2 - pgs. 7a & b): Selects the Variax Acoustic Model. Choose the
“Don’t Force” option if you prefer to not have the JTV local Model changed by the
Model value saved within the POD HD500X presets.
• Local Control (Knob 3 - pgs. 7a & b): This feature is not applicable for Variax
Acoustic, therefore, no options are available.
• Mic Position (Knob 4 - pg 7a): Changing this value simulates changing the mic
position on the acoustic from closer to further from the soundhole.
• Comp (Knob 4 on pg 7b): Selects the amount of compression effect applied to
the Variax Acoustic tone.

System Setup

Variax Bass 700 & 705
For a Variax Bass, you’ll see three Setup pages, 7a, 7b & 7c to accommodate all the
controls on the Bass. Multifunction Knobs 1, 2 & 3 on all pages are common controls.
Knob 4 on each page is unique.

2•15

• Variax Control (Knob 1 - pgs. 7a, b & c): See page 2•11.

• Model (Knob 2 - pgs. 7a, b & c): Selects the Variax Bass Guitar Model. Choose
the “Don’t Force” option if you prefer to not have the Variax Bass Model changed
by the Model value saved within any POD HD500X preset.
• Blend (Knob 4 - pg. 7a): Adjust this controls the balance between a neck and
bridge pickup tone on the Bass.
• Bass (Knob 4 - pg. 7b): Adjusts the amount of bass frequencies.

• Treble (Knob 4 - pg. 7c): Adjusts the amount of treble frequencies.

System Setup

Page 8, James Tyler Variax Tuning Options

The Page 8 Setup screen offers Tuning options for James Tyler Variax guitars.* These
allow you to configure and edit alternate tunings for your connected JTV guitar, which
can be saved right along with any POD HD500X preset!

2•16

*Note: This tuning functionality is only available for James Tyler Variax family guitars. If no JTV (or
any first-generation Variax) is connected, this screen offers no accessible options.

• Variax Tuning (Knob 1): Choose “Don’t Force” if you do not want the POD
HD500X preset to affect the local tuning on your JTV guitar. Choose “Custom” to
create a tuning of your own, which can be saved with the current preset.
• String Select (Knob 3): Select the desired guitar string, 1 though 6, for which you
want to change the pitch.
• Note Offset (Knob 4): Choose the amount of half-steps, positive or negative, for
which you want to raise or lower the pitch of the selected string. The resulting note
will then be displayed on the tuning graphic at the top of the screen. For example,
in the screenshot above, we’ve altered the low E string down two half-steps to a
D note.*
*Note: The offset value will always be accurate - the note labels displayed assume the guitar is
tuned to standard pitch (E, A, D, G, B, E), with the A using a 440Hz reference pitch.

System Setup

Page 9, Setup: L6 LINK Audio

2•17

These options configure the POD HD500X audio signal fed to up to four Line 6 DT50™/
DT25™ amplifiers using the L6 Link connection.* These settings are saved per Preset.
*Note: For details on using the POD HD500X L6 LINK connection with DT amplifiers, please see
the additional documentation available at http://line6.com/support/manuals/.

• Amp 1 - Amp 4 - Select the audio signal you want fed to each DT amplifier:

• Choose the main output signal (Left, Right, Left/Right summed).
• Choose the output of one specific Amp Model (Amp Model A or Amp Model B).
These options configure the POD HD500X audio signal fed to up to four Line 6 DT
Series amplifiers and/or StageSource™ speakers using the L6 LINK connection. The
settings for each of the 4 Amps are saved per Preset. Whenever one or more DT
amps/StageSource speakers are connected to the POD HD500X - L6 LINK output,
you’ll see each identified on the screen, such as the “DT50” appears as connected in
the #1 Amp position in the above screenshot (note that these are indicators labels only
and not stored per Preset).
1 - 4 Amp Options - Select the specific POD HD audio signal you want fed to each
L6 LINK-connected DT amp/StageSource speaker. Note that the L6 LINK audio signal
fed to each amp is mono.
• Choose Left, Right or Left/Right (summed to mono) to send the main POD
HD output signal.
• Choose the output of one or two specific POD HD Amp Models - Amp Model
A, Amp Model B, or both Amp Model A/B.

System Setup

2•18

• Choose Mute to silence any connected DT amp/StageSource speaker.
This is handy, for example, if you are L6 LINK-connected to both a DT amp
and StageSource speaker.* You can save some POD HD Presets with the
StageSource set to “Mute” to allow an electric guitar tone to be heard through
DT amp only - and other Presets with the DT amp set to “Mute” for an acoustic
tone to be heard from the StageSource speaker only. Even better, if you use a
Line 6 Variax, these electric & acoustic guitar settings can be saved with your
POD Preset as well!
*Note: It is necessary to always place the StageSource speaker(s) last in the L6 LINK signal
chain (e.g. - POD HD500X > DT50 > StageSource L3). For more about using the L6 LINK
connection, DT Series amps & StageSource speakers, please see the additional documentation
available at http://line6.com/support/manuals/.

Page 10, Setup: L6 LINK Control

These options allow you to dictate how up to four connected Line 6 DT50 or DT25
amplifiers each “follow” the POD HD500X Amp Models & settings. Parameters 1 - 4
correspond to L6 LINK connected DT amplifiers 1 - 4, respectively.
• Each DT amplifier can be set independently to follow either the current Preset’s
Amp Model A or Amp Model B.
• The DT amplifier automatically configures its power amp Topology settings to
match the selected Amp Model A or B.
• The DT amp controls are also synced to the selected Amp Model A or B.
• Alternatively, you can select a MIDI Channel to set the DT amp’s MIDI
communication channel. This effectively sets the respective DT amp to utilize its
own internal Amp Model (rather than the POD HD500X Amp Model), and “syncs”
its front panel controls with other DT amps that are set to the same MIDI Channel.
*Note: These L6 LINK Control settings are for DT Series amplifiers only and ignored by any
connected Line 6 StageSource speakers, which do not respond to MIDI CC messages.

Features & Functionality

Features & Functionality
Ready to dive deeper? In this chapter, we’ll go into more detail on the major features &
functionality offered on POD® HD500X.

FX Blocks

For each Preset there are always a total of 8 FX Blocks, each capable of loading any FX
Model, (or the FX Loop - see next section). When in the Signal Flow View screen, select
any FX Block and you’ll see options at the bottom of the screen, adjustable using the
Multi-Function Knobs 1-4.

The Signal Flow View with an FX Block selected

• Knob 1 - Model Type: Select from among the FX Model categories.

• To load no effect in the selected Block, choose “None.” You’ll see the Block
then appear “Null,” as shown below. A Null FX Block can still be moved and
loaded with a new Model at any time. Setting unneeded FX Blocks to None
is a great way to minimize your tone’s DSP usage (see “Dynamic DSP” on
page 3•13).

FX Blocks with the Model set to “None”

• Knob 2 - FX Model: Choose the desired Model from the Model Type list.

3•1

Features & Functionality

• Knob 3 - FX Parameters: Choose from up to 5 adjustable parameters.
Alternatively, double-press the ENTER button to access all the Model’s parameters
in one screen - see “FX Edit Mode” on page 5•1.
• Knob 4 - Parameter Value: Adjusts the value for the currently selected parameter.

Each FX Block also offers the following features:

3•2

• On/Off: Toggle the FX Block “On” or “Off” by pressing the ENTER button once.
When Off, your signal flows through the FX Block unprocessed.
• Move FX Position: Each FX Block can be moved throughout signal chain,
providing complete routing flexibility. Place any FX Model before the Amp (“Pre”),
after the Amp (“Post”), or within one of the parallel Paths A & B - see “Amp Model
Positioning” on page 6•1 for details.
• Saved Per Preset: All FX Block positions, their loaded FX Models and all FX
parameter values within the tone are saved with each Preset.

FX Loop
For any one of the 8 FX Blocks, you can load the FX Loop rather than an FX Model.
This allows you to position the POD HD500X hardware FX Loop anywhere you like
within the current signal path - even within one of the parallel Paths A or B!

The Signal Flow View with the FX Loop selected
Note that it is necessary to set one of the FX Blocks within your Preset to the “FX Loop” before
you’ll hear the signal fed through your SEND & RETURN device connections.

Access options for the FX Loop at the bottom of the Signal Flow View, or in the Edit
Mode screen. You can also toggle the FX Loop “On” or “Off” by pressing the ENTER
button once. The FX Loop’s position and all its parameter values are saved per Preset.
Please also see “FX Loop” on page 5•4.

Features & Functionality

Amp Blocks

A single Amp Block can be placed in the “Pre” or “Post” signal flow positions, or within
parallel Path A. Or, two Amps can be used if positioned within the Paths A & B, as
shown below. Much like FX Blocks, Amp Blocks can be toggled On/Off and include
several editable parameters. But there’s quite a bit more available for Amps as well,
so please refer to the dedicated chapter “Amp, Cab & Mic Models” on page 6•1 for
details!

3•3

Mixer Block

A Preset with two Amp Blocks

The Mixer is permanently positioned at the end of the parallel Paths A & B and provides
individual Level and Pan controls for each Paths’ output before fed to the “Post”
position. When the Mixer is selected in the Signal Flow View, its four parameters are
available at the bottom of the screen, accessible using the Multi-function Knobs 1-4.

The Signal Flow View with the Mixer Block selected, showing its 4 parameters

Features & Functionality

• Volume A (Knob 1): Controls the volume level of the Path A output. 0 dB is unity
gain.
• Volume B (Knob 2): Controls the volume level of the Path B output. 0 dB is unity
gain.
• Pan A (Knob 3): Adjusts the left/right stereo balance of the Path A output.

• Pan B (Knob 4): Adjusts the left/right stereo balance of the Path B output.

3•4

Moving FX Blocks

Any of the 8 FX Blocks can be moved throughout your tone’s signal flow, providing
tremendous routing flexibility. To move any FX Block, start within the Signal Flow View
and select the FX Block to be moved. Press the MOVE button and you’ll see the selected
FX Block appear “raised” to indicate it is now moveable.
ENTER

AMP & FX ON / OFF

DBL PRESS TO ASSIGN CTL

MOVE

Pressing the Move button to reposition an FX Block

The FX Block can now be moved as follows:
• Use the

Nav. Disc buttons to move the FX Block to the desired position.

• Move the FX Block into either Path A or B, and place it before or after an Amp
Model within the path. Use the
Nav. Disc buttons to move the FX Block to
the opposite path. This allows you to run your effect in “parallel” and blend the
individual Path A & B outputs using the Mixer’s Level & Pan options!
• Once the FX Block is in the desired position, press the MOVE button again to drop
it into place.
• Amp Blocks can be moved into fixed positions within the Pre or Post signal path
areas, or within the Paths A & B - see “Amp Model Positioning” on page 6•1.
• The Looper can also be selected and moved either to the start (“Pre”) or end
(“Post”) of the signal flow - see “Looper Mode” on page 8•1.

Features & Functionality

Model Types and Mono/Stereo Signal Routing
It is important to note that some Models (all EQs, Wahs & Volume, and some Modulations,
Filters, Pitches and Delays, as well as the FX Loop) preserve a stereo output within the
signal chain, while others (all Dynamics, Distortions, all Amps & Preamps, and other
various Models) are mono FX and do not. The POD HD500X Inputs 1 & 2 are fed into
the signal chain as stereo (see “Page 3, Setup: Input Options” on page 2•3). Therefore,
wherever a mono FX or Amp Model is inserted, the Left & Right channels of this stereo
signal is “mono-ized” and heard as a two-channel mono signal at the Model’s output.
To follow are a few examples:
Ping Pong Delay

No mono-output FX or Amp follows Delay

• As shown above, if you place the Ping Pong Delay (a stereo-output FX Model)
after any other FX and/or Amp Models, you’ll hear its delay repeats bounce back
and forth between your Left and Right outputs.
Ping Pong Delay

A Distortion (mono) FX Model follows Delay

Ping Pong Delay

An Amp Model Follows Delay, within same Path

• If you place the Ping Pong Delay immediately before a mono FX Model (as shown
above, left) or Amp Model within the same Path (shown above, right), you’ll hear
its delays “mono-ized,” equally through both the Left and Right outputs.
• The FX Loop is capable of stereo, just like any stereo-output FX Model, provided
that you utilize a stereo cabling configuration from the SEND jack, through your
pedals/rack devices, and back into the RETURN jacks.

3•5

Features & Functionality

• The above rules also apply within each of the parallel Paths A and B, since these
are each stereo signal paths as well. The Mixer Block offers Pan controls to
independently adjust the stereo balance of each of these Paths before they are
fed into the first “Post” FX (or Amp Block, if the Amp is placed here), immediately
following the Mixer.
• Please also see “Amp Model Positioning” on page 6•1 for additional signal flow
information.

3•6

Expression Pedal & Variax® Knob Controller Assignment

POD HD500X includes two Pedal Modes, EXP 1 and EXP 2 for the “on-board” Pedal,
each of which can be assigned to any FX Model or FX Loop parameter, for endless
control possibilities.* Or, when an Expression Pedal is connected to the PEDAL 2 input
on the back of POD HD500X, the on-board Pedal controls EXP 1 and Pedal 2 controls
EXP 2. The EXP 1 and EXP 2 Pedal Modes can each be assigned to control independent
FX parameters. These EXP 1 & EXP 2 assignments and all settings made here are saved
per Preset.

*Note that when you add a Wah FX Model to your tone, the “Position” parameter for the Wah is
automatically assigned to EXP 1. Likewise, when adding a Volume or Pan FX Model, its Position
parameter is automatically assigned to EXP 2. This will result in multiple items assigned to these
EXP Pedals if you already have existing Pedal assignments. For all Factory Presets that already
include a Wah, Volume or Pan, these are typically already assigned as well. You can change
these Pedal assignments, and/or create your own for other FX parameters - read on!

EXP 1 and EXP 2
When no additional Pedal is connected to the PEDAL 2 input, the on-board
Pedal‘s “Toe Switch” will toggle between the control of Pedal Modes EXP 1 and
EXP 2. The red EXP 1 and green EXP 2 LEDs illuminate to indicate the current Pedal
Mode. (It is also possible to manually assign other functions to the Toe Switch
- see “Using the EXP Pedal Toe Switch” on page 3•11.)

EXP 1 and EXP 2 with Pedal 2 Connected
UNBALANCED OUTPUT

BALANCED OUTPUT

FX RETURN

FX SEND

PHONES
AUX IN
INPUT
L/MONO
R/MONO
LEFT
TRS STEREO
GUITAR IN
Optionally,
you
can
connect
a 2ndRIGHTExpression
PedalMIC(such as aL/MONO
Line RIGHT
6 EX-1
Expression Pedal) to the PEDAL 2 input. With a Pedal 2 connected, the on-board
Pedal controls only EXP 1, and Pedal 2 controls only EXP 2. Whenever a Pedal 2
is connected, you’ll see the EXP 1 & EXP 2 LEDs both lit.
CD/MP3

PEDAL 2

LINE

STOMP

MIC LEVEL

VARIAX

Features & Functionality

Variax Knobs as Controllers
It is also possible to assign the Volume and/or Tone knob of any Line 6 Variax guitar
to control any POD HD500X Amp or FX parameter. Note that when assigning a Variax
knob to remotely control a POD HD500X parameter, you might find it preferable to
“Lock”the knob’s Local Control option, so that it does not simultaneously affect the
Variax guitar’s Volume or Tone - please see “Page 7, Setup: Variax Options” on page
2•11 for instructions.

3•7

Controlling Amp & FX Parameters
Configuring the Expression Pedal and Variax Knob controller assignments is done
within the Controller Assign screen. In the Signal Flow View, select the Amp or FX
Block for which you’d like to create a controller assignment, then double-press the
MOVE button. For our example, we’ll select our Delay FX block in the Signal Flow View
and configure it to be controlled via the EXP-1 Pedal:
Tip! Expression Pedal and Knob Controllers are capable of driving up to 50+ POD HD parameters
simultaneously, making it possible to morph between sounds with a single Exp. Pedal or Knob
move. Simply repeat the following steps to assign a common Controller to multiple parameters
within the same Preset.

ENTER

AMP & FX ON / OFF

DBL PRESS TO ASSIGN CTL

MOVE

The Controller Assign screen is then displayed specifically for the selected Model. In
our example, it is the Digital Delay W/Modulation.

Features & Functionality

Use the Multi-function Knobs 1-4 to configure the controller assignment options.

3•8

The Controller Assign screen

• Parameter (Knob 1): Select the parameter for the current Model that you want to
control.* In our example, we’ll choose the Mix parameter.
• Controller (Knob 2): Select the controller that you want to assign to the parameter.
Choose Off to have no assignment, or choose EXP 1, EXP 2, Variax Vol or Variax
Tone.

• Minimum Value (Knob 3): Set the parameter value you’d like for the Pedal’s
“heel” or Knob’s minimum position.
• Maximum Value (Knob 4): Set the parameter value you’d like for the Pedal’s
“toe” or Knob’s minimum position.
* Note: As stated on page 3•6, when adding any Wah or Volume/Pan FX Model to your
tone, their Position parameters are automatically assigned to the EXP 1 & EXP 2. These Wah &
Volume/Pan EXP assignments will remain in addition to other parameters you assign, resulting
in your Pedal controlling multiple parameters. Be sure to remove any unwanted Model’s EXP
assignment in the Controller Assign screen.

To creat a controller assignment to an FX Loop parameter, simply select the FX Loop
Block within the Signal Flow View and go to the Controller Assign screen, as described
above.

Features & Functionality

The Controller Assign options for the FX Loop
Note: When a Controller is assigned to any FX Model parameter, manually editing this parameter’s
value will result in changing the Controller’s MIN or MAX value. For example, if the EXP-1 Pedal
Controller is assigned to a Wah FX Model’s Position parameter, select the Wah Model, go to its
Edit View screen, and select the Position parameter. If you turn multifunction knob #4 when the
Pedal is near the “heel” position, the MIN value is adjusted. If you turn the knob when the Pedal
is near the “Toe” position, the MAX value is adjusted.

FX & Amp Block Footswitch Assignment

Each of the FS1 through FS8 footswitches, as well as the Exp Pedal’s “Toe Switch” can
be configured to toggle any of the FX or Amp Blocks On/Off. You can reference the
current Preset’s FX footswitch assignments by pressing the VIEW button to display the
Performance View screen. The assignments for FS1-FS8 will differ depending on your
current Setup - FS Mode setting (see “Page 1, Setup: Utilities Options” on page 2•1):

FX assignment for FS1-FS8

ABCD assignment for FS5-FS8

Note that when Looper Mode is active, the Performance View displays a set of Looper-specific
footswitch functions, as covered in “Looper Footswitch Controls & Performance View” on
page 8•1.

3•9

Features & Functionality

Assigning an FX or Amp Block to a Footswitch
From the Signal Flow View, select the FX or Amp Block that you want assigned to one
of your footswitches. As an example, we’ll select the Delay FX Block. Then Press and
hold the ENTER button to display the Footswitch Assign screen.

3•10

ENTER

AMP & FX ON / OFF

DBL PRESS TO ASSIGN CTL

MOVE

Select the desired Amp or FX block, then press and hold the ENTER button

The Footswitch Assign screen, with a Delay FX Model selected

Use Multi-function Knob 1 to select the footswitch to which you want this FX Block
assigned - choose FS1 through FS8, the EXP Toe Switch, or None to remove the
Block’s assignment. The following behaviors apply:
• If a footswitch already has an FX or Amp block assigned: The existing Block
remains assigned, and selecting this footswitch additionally assigns your new
Block. When referencing the Performance View, you’ll see the footswitch display
a “Multi” graphic to indicate this. You can configure 2 or more parameters to the
same footswitch to toggle them On/Off simultaneously - or, have one toggle On
while another Toggles Off!

Features & Functionality

Indicates multiple Blocks assigned to a footswitch
TIP: To reference current footswitch assignments, when in the Footswitch Assign screen, use
Nav. Disc buttons to select each Block, and look at the Knob 1 setting for each at the
the
bottom of the screen.

• When a footswitch has no Block assigned: You’ll see the N/A graphic displayed
in the Performance View for the respective footswitch.

Indicates no Blocks assigned to a footswitch

Using the EXP Pedal Toe Switch
As noted in “Expression Pedal & Variax® Knob Controller Assignment” on page 3•6,
when adding a Wah or Volume/Pan Model to your tone, their Position parameters are
automatically assigned to the EXP 1 and EXP 2 Pedal Modes. Most Factory Presets
already include this Wah/Volume switching pre-configured for you. But the Toe Switch
assignment is not set automatically for newly added FX Models, so here is how to set
this up manually.
• With the Wah Model selected, go to the FS Assign screen and assign its FX Block
to the EXP TOE SWITCH, following the instructions above. This allows the Wah to be
toggled On/Off via the pedal Toe Switch.

3•11

Features & Functionality

3•12

Assigning an FX Block to the on-board pedal’s “Toe Switch”

Further, if you have a different FX parameter (such as the Volume - Position) being
controlled by the opposite EXP Pedal Mode, you’ll likely find it useful to have the Toe
Switch toggle both the FX On/Off alternately, so that only the desired Model is active
while being controlled. For example, say you have a Preset where the Wah is controlled
by EXP 1, and the Volume by EXP 2:
Note: If you have an additional Pedal connected to PEDAL 2, you may not want to use the
following configuration, since the Wah and Volume are already controlled by the two Pedals
individually.

• Click the EXP TOE SWITCH switch so that the red EXP 1 LED is lit.
• In the Signal Flow View, select the Volume FX block and toggle it “Off” using the
ENTER button. You should now see the Wah “On” and the Volume “Off.”

Wah in “On”

Volume is “Off”

• Repeat the previous Footswitch Assign steps for both the Wah and the Volume,
assigning each to the EXP TOE SWITCH.
• Now whenever you click the EXP TOE SWITCH to EXP 1 for this Preset, the Volume is
switched “Off” and the Wah is switch “On” and is controlled by the Pedal - and
vice versa when switching to EXP 2.
• Be sure to save to retain these settings with your Preset!

Features & Functionality

Dynamic DSP

We’ve offered up a whole lot of sound possibilities in POD HD500X, and it can take
some serious Digital Signal Processing (DSP) to run these goodies. Rather than limit
your creative potential with fewer Models or signal routing options, we chose to
implement a “Dynamic DSP” system, which dynamically assigns DSP resources to
accommodate your tone configurations. When creating a tone that utilizes several
heavy-hitting DSP Models, it is possible to surpass the amount of processing power
available. In these cases, you’ll see the DSP LIMIT REACHED indicator appear, and
the current Model is bypassed to allow your tone to remain active.

DSP Limit alert is
temporarily displayed
Currently selected
Model is automatically
bypassed, with DSP message shown here

Signal Flow View - displaying DSP Limit alert

In the above example, trying to change the Model for a 2nd Amp placed our tone over
the DSP limit. Therefore, the DSP LIMIT REACHED message is shown temporarily,
and the Amp B Model we selected is automatically bypassed, as indicated by the DSP
Over message. When the DSP Limit is reached, you have a few options to free up DSP
resources.
• Try using different Amp Models. Some of the HD Amp Models require more DSP
power than others, so try switching to a different Amp Model.
• Use only one Amp Model rather than two.
• Try toggling Amp and/or FX Models “Off” or set the Block’s Model to “None,” (see
“FX Blocks” on page 3•1). Some FX types, such as Pitch Shifters and Reverbs,
utilize DSP more heavily.
Note: Setting an Amp or FX Block to “None” reduces the Block’s DSP usage more substantially
than toggling its Model to “Off.”

• Once you’re happy with your customized tone, save it so you can recall it later.

3•13

Set Lists & Presets

Set Lists & Presets
This chapter covers all you need to know about working with Set Lists and Presets to
manage your POD® HD500X Tones.
Be sure to also check out the free Line 6 POD HD500X Edit software. It can be used to create,
customize & manage an unlimited library of POD HD500X Set Lists & Presets right on your
Mac® or Windows® computer! See “POD HD500X Edit Software” on page 1•5.

Working with Set Lists

POD HD500X stores 64 Presets within each of its 8 Set Lists. The big idea here is
that you can load any one of these Set Lists to then gain access to any of its Preset
locations - where you can save your complete settings to, or load a Preset from.

Accessing Set Lists
Push the PRESETS knob to display the Set Lists screen.

SAVE
P R E S E TS

HOLD FOR SYSTEM & I/O

VIEW

The Set Lists screen
DT Series Amp Owners... The “L6 LINK<->DT” Set List is filled with Presets specifically designed
for use with POD HD500X connected to a DT Series amp utilizing the L6 LINK connection. Also,
the Presets within this Set List that include “LVM” within their titles are designed for use with your
DT Series amp set to its “Low Volume Mode.”

4•1

Set Lists & Presets

Load a Set List: Use the and
Nav. Pad buttons, or turn the PRESETS knob to
select any Set List, then press the ENTER button. This immediately loads the selected
Set List, making all its Presets available. Note that your previously loaded Preset is
automatically closed, and the Preset of the same Bank/Channel location number from
the new Set List is loaded.

4•2

Rename a Set List: With the desired Set List selected, press the SAVE button to
display the Rename Set List screen.

SAVE
P R E S E TS

HOLD FOR SYSTEM & I/O

VIEW

To edit the Set List name, use Multi-function Knob 3 to select the desired character,
then use Knob 4 to edit the character. Once complete, press SAVE again to commit your
new name, and you’ll be returned to the Set Lists screen. Or, just press PRESETS button
to return to the Set Lists screen without committing any name changes.

Set Lists & Presets

Arranging Presets within Set Lists
While in the Set Lists screen, double-press the ENTER button to display the list of
Presets in the current Set List, where you can reference each Preset’s Bank/Channel
location, load a Preset, or rearrange the Presets into in any order you like.

4•3

The Set List: Presets screen

Load a Preset: Use the Nav. Pad buttons, or turn the PRESETS knob to select any
Nav. Pad buttons to navigate through the list one
of the 64 locations, or use the
Bank at a time. Press the ENTER button to immediately load the selected location’s
Preset.
Move a Preset: Here is an example where we’ll move the “HIWAY 100” Preset from
location 2A to location 2C.
ENTER

• Select location 2A for the “HIWAY 100” Preset, then press the MOVE button.
You’ll see the selected Preset appear “raised” to indicate it is now moveable:
AMP & FX ON / OFF

DBL PRESS TO ASSIGN CTL

MOVE

Set Lists & Presets

• Use the Nav. Pad buttons or PRESETS knob to select the 2C destination location.
Note that as you select a new Bank/Channel location, the resulting Preset order
is displayed on the screen. For our example, “HIWAY 100” is inserted into 2C,
resulting in the Presets from the original location (2A) to the destination (2C) to
move up one slot:

4•4

“Hiway 100” moved from 2A to 2C

• Once you’ve placed the Preset over the desired channel location, press the
MOVE button again to “drop” it into the slot.
• Repeat the above steps to rearrange any additional Presets as desired. To
commit all your changes, you must next press the PRESETS button - you’ll see
the “Saving” screen displayed to indicate this process.

Working with Presets

The Set List: Saving screen

Each of the 8 Set Lists within POD HD500X includes 64 Channel locations for holding
Presets. These Set Lists and Presets are all retained in your POD HD500X internal
memory. Each Preset includes all current FX & Amps in use, all their parameter settings,
their position within the signal flow, footswitch & pedal assignments, Mixer settings,
as well as input & output and other Setup options, as indicated throughout this Guide.

Set Lists & Presets

Accessing Presets
From any of the Home View screens, simply turn the PRESETS knob to increment
through the current Set List. The currently loaded Bank/Channel number and Preset
name are displayed at the top of the Home View screen. (Note that you’ll need to save
your current Preset before loading a different one if you wish to retain any changes
made!)
SAVE

4•5

P R E S E TS

HOLD FOR SYSTEM & I/O

VIEW

Turn the PRESETS knob to increment through Presets

Alternatively, you can access Presets that reside within any Set List from within the
Set List - Preset screen (see page 4•2), or by using the POD HD500X Footswitches.

Bank & Channel Footswitches
Preset selection is completely “hands-free” by way of the Bank Up
, Bank Down
and Channel A, B, C, D (FS5 - FS8) Footswitches. Note that you’ll need to set the System
- FS Mode setting to “ABCD” to allow FS5 - FS8 to instantly access the Channel
locations - see ““Page 1, Setup: Utilities Options” on page 2•1.

Bank Up & Down

Channel A,B,C,D footswitches (FS5 - FS8)

• Press the A, B, C or D switch to instantly recall its Channel location within the
currently selected Bank.

Set Lists & Presets

• To navigate through Banks, press the Bank Up or Bank Down footswitch and
you’ll see the Queued Bank screen displayed, with the current Bank/Channel
flashing:

4•6

The Queued Bank screen - the next Bank is queued

• Continue pressing the Bank Down or Bank Up footswitch and you’ll see the
previous/next Bank’s A, B, C & D Channels & their Presets “queued,” as shown
above. Then press the A, B, C or D footswitch to load the respective Preset from
the desired Bank.

Saving Presets

To retain any customization you may have performed on your Preset, or if you want
to rename or move the current Preset, you can use the Save function. Whenever your
current Preset is in an “unsaved” state, you’ll see an asterisk appear in the Signal Flow
View.

Asterisk indicating Preset is in an unsaved state

Set Lists & Presets
Remember to always save your Preset before calling up a different Preset to retain any changes
you may have made!

Press the SAVE button to display the Save Preset screen.

4•7

The Save Preset screen

Use the Multi-function Knobs 1-4 to choose your Save functions.
• Set List (Knob 1): Choose any one of the 8 Set Lists here in which you’d like to
save your Preset. By default, you’ll see your currently loaded Set List.
• Destination (Knob 2): Choose the specific Bank/Channel location within the
selected Set List to save your Preset. Note that this will permanently overwrite
the Preset within the destination location once you commit the save. Choose
a location that contains a “New Tone” to avoid overwriting customized Preset.
• Cursor & Character (Knobs 3 & 4): To rename your Preset, select a character
with Knob 3, then use Knob 4 to edit the selected character.
TIP! For speedy preset naming... The Nav. Disc buttons may be used to move the cursor left &
right. Pressing down clears the currently selected character. Pressing up cycles through the first
character of Upper Case, Lower Case, Numeric, and blank.

Once you’ve completed the above settings, press the SAVE button to commit. Or, to
cancel the save, press the PRESETS knob or VIEW button.

FX Edit Mode

FX Edit Mode
Within this chapter, we’ll cover the Edit Mode for FX, which provides access to all
editable parameters for the FX models and the FX Loop. (For info on Amp Models, see
“Editing Amp Parameters” on page 6•6.) All changes made in the Edit Mode are saved
per Preset.

Accessing FX Edit Mode

First press the VIEW button to display the Signal Flow View screen.

SAVE
P R E S E TS

HOLD FOR SYSTEM & I/O

VIEW

The Signal Flow View - Modulation FX Block selected

Use the
Nav. Disc buttons to select the Block you wish to edit. In our example
above, we’ve selected the first Block, which currently has a Modulation Model loaded.
While in the Signal Flow View, you can edit a few options for the selected Block’s FX
Model using the Multi-select Knobs 1 - 4. However, by entering the Edit Mode screen,
you’ll have instant access to all parameters. Double-press the ENTER button to display
Edit Mode.

ENTER

AMP & FX ON / OFF

DBL PRESS TO ASSIGN CTL

MOVE

The FX Edit Mode - Modulation:U-Vibe FX Model loaded

5•1

FX Edit Mode

Use the Multi-Function Knobs 1- 4 to access the respectively numbered options at the
bottom of the Edit Mode screen.

The Multi-Function Knobs

While the Edit Mode screen is displayed, these knobs access the following functions.

Knob 1 - Type

5•2

Select the type of FX Model you want to insert into this Block location. You’ll see the
selected Type displayed at the top of the screen, as well as a handy Model On/Off
indicator at the right.

• None: Choose “None” to remove any FX Model from the Block.
• FX: Choose from the list of FX types.

• FX Loop: Not technically an FX Model, but the device’s FX Loop can be inserted
and its options edited much like one! See “FX Loop” on page 5•4.

Knob 2 - Model
Choose the specific Model for the current FX Type. You’ll see the selected FX Model
displayed at the top of the screen.

FX Edit Mode

Knob 3 - Parameter
Use the Nav. Disc buttons to select from among the parameters that are displayed.
The “selected” parameter is indicated by the arrow at the left.

Knob 4 - Value
Set the value for the selected parameter.

As shown above, some parameters utilize numerical values, while others utilize a
graphical bar display.

5•3

FX Edit Mode

FX Loop

The FX Loop can be inserted into any one FX Block. .

5•4

The FX Loop Edit Mode screen

Adjust the Parameter & Value settings the same as with any FX Model. These FX Loop
Edit Mode settings are saved per Preset.
• Send: Reduces the level fed out the FX Loop SEND to your external devices.
Note: Use the LINE-STOMP switch on the back of POD HD500X to choose between levels for
Rack FX versus Pedals. This Send parameter can then be used to further fine-tune the level fed
to your connected devices.

• Return: Adjusts the level of the signal received into the stereo FX Loop RETURN
jacks.
• Mix: Blends the FX Loop signal that with the POD HD tone signal. When set to
100%, the full POD HD500X signal is fed to the SEND. When set to 0%, your input
signal bypasses the FX Loop completely, so that you’ll hear only your POD HD
processed signal. Be sure to set the Mix to less than 100%, or toggle the
FX Loop Block “Off,” if you do not have a complete connection between
the device’s SEND & RETURN jacks, or you’ll hear only silence from the
output of POD HD500X!
TIP: Most FX and FX Loop parameters can optionally be assigned for Expression Pedal control!
See “Expression Pedal & Variax® Knob Controller Assignment” on page 3•6.

Amp, Cab & Mic Models

Amp, Cab & Mic Models
This chapter provides details on selecting & editing the exemplary HD Guitar Amp
& Preamp Models, all of which have been newly developed by our amazing team of
sound engineers for POD® HD500X! Also covered here are details on Speaker Cabs,
Mic Models and putting Amp Models to use.

Amp Model Positioning

Each Preset includes the ability to run one or two Amp or Preamp Models. Much like
each FX Block, the Amp Block can be repositioned using the MOVE button (please see
“Moving FX Blocks” on page 3•4 ). Here we’ll cover the impact on your signal flow
when placing the Amp in different positions.

*Note: Looking for a Mic Preamp Model? You can find the Vintage Pre Model located within
the “Preamps+EQ” category of any FX Block. Having this Preamp Model within the FX Blocks
(rather than in the Amp Blocks) allows you the flexibility of using it with or without the Amp
models, and positioning it anywhere in the signal chain. See “Preamp+EQ Models” on page
7•8 for more info.

Amps Within Paths A & B
You’ll find that a number of the Factory Presets already utilize this type of configuration.
When moving the single Amp Model into the parallel Paths A/B from the “Pre” position
(before the Path A/B split) or “Post” position (after the Mixer Block), a 2nd Amp B Block
is automatically created in Path B. In this configuration, the top amp is referred to as
Amp A and the other Amp B.
Amp A

Amp B

Amp Models within Paths A & B

Behaviors for this configuration are:
• Each Amp Block can be individually set to a different Amp or Preamp Model,*
edited and enabled/disabled.
*Note: Some Amp/Preamp Models utilize more DSP than others. You may find it necessary to
bypass or remove some FX Models to enable two simultaneous Amps - see “Dynamic DSP”
on page 3•13 for more info.

6•1

Amp, Cab & Mic Models

• The Amp Blocks cannot be moved within the A or B Paths, however, it is
possible to move any FX Blocks before or after the Amps within either Path.
• Specific behaviors apply for moving an Amp Block out of the parallel Paths
A/B:
• Select Amp A, push the MOVE button, then the Nav. Disc button. This removes
Amp B from the tone and moves Amp A to the Post position, where it is placed
directly after the Mixer (and before any “Post” FX).
• Select Amp A, push the MOVE button, then press the Nav. Disc button. This
removes Amp B from the tone and moves Amp A to the Pre position, where it
is placed just before the Path A/B split (and after any “Pre” FX).
• For the above actions, pressing MOVE when Amp B is selected has no function.

Amp Block in Pre or Post Positions
Only a single Amp Block can be used within either of these positions.

6•2

Amp A

Amp in “Pre” position (before Path A & B)

With the Amp in Pre, as shown above, the single amp feeds both Paths A & B. You can
always move FX into either Path A or B, in which case they’ll behave as “Post Amp”
FX, yet be in parallel, with each Path’s output controlled by the Mixer’s A & B Level and
Pan.
Note that when utilizing both Inputs 1 & 2 (or when using “SAME” for either of these Input
options) the two Input signals are combined to allow them to be fed into any Amp or mono FX
Model within the Pre position, which can result in a hot signal level. Reduce your instruments’
volume as needed to avoid overloading your Pre-positioned Models.
Amp A

Amp in “Post” position (after Path A & B)

Amp, Cab & Mic Models

With the Amp in Post position, parallel Paths A & B are fed into the input of the Amp.*
You can still move FX into either Path A or B, in which case they’ll be in parallel, with
each Path’s output individually controlled by the Mixer’s A & B Level and Pan options
to allow you to custom blend them before they hit the Amp.
*Note: All Amps & Preamps behave as “mono” Models, which impact the stereo output of any
FX Models positioned before them within the signal flow. For more info, please see “Model
Types and Mono/Stereo Signal Routing” on page 3•5.

Selecting Amp, Cab & Mic Models

Press the VIEW button to display the Signal Flow View and use the Nav. Disc to select
Amp A or Amp B.

6•3
The Signal Flow View - Amp B selected

Once an Amp Model is selected, you’ll see the 4 editable Amp options at the bottom
of the screen, accessible via the Multi-function knobs 1 - 4.
• Knob 1 - Selects the Amp Model.
• Knob 2 - Selects the Cab Model.
• Knob 3 - Selects the Mic Model.

• Knob 4 - When the current Preset includes two Amp models, this selects
which Amp (the Amp within Path A or B) is controlled by the Amp Tone
knobs.
As you change the Amp Model (Knob 1), you’ll also see that default Cab and Mic
models are automatically selected for each Amp or Preamp. But you can use Knobs 3
& 4 to select any Cab and/or Mic you like. These settings are saved per Preset.

Amp, Cab & Mic Models
Attention Bass Players: Try the Flip Top Bass Amp Model for some thump! Note that this Model
loads with a matching 1x15 Flip Top speaker cab, as well as a full set of Mic Model options for
stellar bass tones. (And yes, you can indeed select any other Cab with the Flip Top Bass Amp
Model, or choose the Flip Top Cab with any Guitar Amp Model!) See the following sections for
details about these models.

Amp and Preamp Models
We’ve included a complete set of “Preamp” versions of each Amp as well. Choose
one of these to obtain the tone of just the preamp stage of the amp - recommended
when feeding your POD HD500X output into an external amplifier, or when using the
L6 LINK™ connection.*

A Preamp Model is selected for Amp B

6•4

*Note that, whether an Amp or Preamp is selected, the additional application of Cab and Mic
Models is dependent upon the SETUP:OUTPUT settings. Please see “Page 4, Setup: Output
Options” on page 2•7.

The overall volume levels among the different Preamp Models varies - this is normal.
The Preamp sections of each of the classic amplifiers we modeled are indeed quite
different, and we’ve set the Preamps’ default values to best match the type of power
amp into which they are intended to fed. Tweak the DRIVE and VOLUME knobs to optimize
the level for your specific needs!

Amp Block States
The Amp Blocks have 3 available states: On, Off (bypassed) or Disabled (sometimes
referred to as a “Null” state for the Block).

Amp Block “On”

Amp Block “Off”

Amp Block “Disabled” (Null Block)

Amp, Cab & Mic Models

About Default Amp Settings: Whenever you change to a different Amp or Preamp
Model, predetermined Cab & Mic models are automatically loaded, as well as Amp
Tone Knob settings designed to complement the Amp type. As noted throughout
this chapter, you can certainly switch to a different Cab and/or Mic Model - just be
sure to save your Preset to retain these changes.

Mic Models
To follow is a list of all Mic Models. Note that all Guitar Amp’s Cabs offer a selection of 8
Mics, and the 1x15 Flip Top Bass Cab offers its own selection of 8 Mic Models.
Mic Model Descriptions
Mic Name
Based On...*
Guitar Cab Mic Models
57 On Xs

Shure® SM57 Dynamic, On Axis

57 Off Xs

Shure® SM57 Dynamic, Off Axis

409 Dyn

Sennheiser® MD 409 Dynamic

421 Dyn

Sennheiser® MD 421 Dynamic

4038 Rbn

Coles 4038 Ribbon

121 Rbn

Royer® 121 Ribbon

67 Cond

Neumann® U67 Condenser

87 Cond

Neumann® U87 Condenser

Bass Cab Mic Models
57 On Xs

Shure® SM57 Dynamic, On Axis

421 Dyn

Sennheiser® MD 421 Dynamic

12 Dyn

AKG® D12

112 Dyn

AKG® D112

20 Dyn

EV® RE20

7 Dyn

Shure® SM7B

40 Dyn

Heil® PR40

47 Cond

Neumann® U47

All product names used in this manual are trademarks of their respective owners, which are in no way associated or affiliated with Line 6. These trademarks of other manufacturers are used solely to identify the products of those manufacturers whose tones and sounds were studied
during Line 6’s sound model development. Shure® is a registered trademark of Shure Incorporated, Sennheiser® is a registered trademark of Sennheiser Electronic Corporation, Neumann® is a registered trademark of Georg Neumann GMBH, Royer® is a registered trademark
of Bulldog Audio, Inc. DBA Rover Labs. AKG® is a registered trademark of Harman International Industries, Incorporated. EV® is a registered trademark of Electro-Voice, Incorporated. Heil® is a registered trademark of Heil Sound Ltd.

6•5

Amp, Cab & Mic Models

Editing Amp Parameters

To toggle the selected Amp model On or Off
ENTER

AMP & FX ON / OFF

Press the ENTER - AMP ON/OFF button once. Toggling the Amp “Off” results in
bypassing the Amp, Cab and Mic processing.

To adjust
the Amp Tone
MOVE
DBL PRESS TO ASSIGN CTL

Turn any of the Amp Tone knobs to adjust the desired settings for the selected Amp.

SAVE

ENTER

AMP & FX ON / OFF

P RE SE TS

OR SYSTEM & I/O

DBL PRESS TO ASSIGN CTL

VIEW

MOVE

The Amp Tone knobs

Whenever you adjust any of the Amp Tone knobs, you’ll see the “Momentary” AMP
EDIT LCD screen temporarily displayed, showing the actual values of the Tone knobs
for both current Amp A & Amp B Models (depending on your Amp Knobs Display
setting, see “Page 1, Setup: Utilities Options” on page 2•1). Also see the next section
for more about the AMP: EDIT options.

6•6

Amp & Cab Edit Display

Double-press the ENTER button to access the Amp & Cab Edit screens. You’ll see up
to 5 pages of options here, allowing you to fine-tune Amp, Cab and Mic settings.* All
settings in these screens are saved per Preset.
*Note: When the selected Amp Model is a “full” Amp Model, you will see five Amp Edit pages,
with pages 2 & 3 offering additional “deep-editing” power amp-related functions, and pages 4
& 5 offering deep-edit Cab functions, as described below. When the selected Amp Model is a
Preamp, you will see only three Amp Edit pages, which offer the same options as the Amp/Cab
Edit pages 1, 4 and 5 described below. Use the Nav. Disc left & right arrow buttons to access
all available pages.

Amp, Cab & Mic Models

Amp Edit - Page 1

ENTER

AMP & FX ON / OFF

DBL PRESS TO ASSIGN CTL

MOVE

Page 1 of the Amp:Edit Screen - both Amps are On

• With both Amp Models On: You’ll see the screen’s respective controls
update as you adjust the Amp Tone knobs, as shown above. Note that the
black “dots” around each knob indicate its last-saved value. You can also
still access the Amp, Cab & Mic Model and Amp A/B selections via the Multifunction Knobs 1-4 while this screen is displayed.

Page 1 of the Amp:Edit Screen - Amp A Bypassed

• With an Amp Model Off: You’ll see only a VOL knob, as shown above for
Amp A. This is a separate parameter strictly for the Amp Model’s Bypass
Volume. Use the VOLUME knob on your device to adjust this, and its value is
stored separately with the Preset for whenever the Amp Block is Bypassed.
Note that the VOLUME knob does not control the level at all for a “Null” Amp Block.

6•7

Amp, Cab & Mic Models

• Use Multi-Function knobs 1 - 4 to adjust the following options:
•
•
•
•

Knob 1: Select the desired Amp or Preamp Model.
Knob 2: Select the desired Cab Model (also see the Page 4 options).
Knob 3: Select the desired Mic Model (also see the Page 4 options).
Knob 4: Choose between adjusting controls for Amp A or Amp B. (This option
is available on all AMP EDIT screens.)

Amp Edit - Page 2
Page 2 offers three options that affect the power amp characteristics of your Amp
Model.

6•8

Page 2 of the Amp:Edit Screen (not displayed for Preamp Models)

• Knob 1: Use this Master Volume to adjust the amount of power amp distortion.
This parameter is highly interactive with all other power amp parameters the lower the Master is set, the less effect the other controls will have.
• Knob 2: Setting the Sag to minimum offers a “tighter” responsiveness, and
turning clockwise provides more “touch” dynamics & sustain.
• Knob 3: Controls how much heater hum & AC ripple interacts with your tone.
At the maximum setting things get really freaky.

Amp, Cab & Mic Models

Amp Edit - Page 3
Page 3 offers two more options that affect the power amp characteristics.

Page 3 of the Amp:Edit Screen (not displayed for Preamp Models)

• Knob 1: Changes the Bias of the power tubes. Set to minimum to achieve a
very “cold” Class AB biasing. At maximum the amp is operating in Class A.
• Knob 2: The Bias Excursion determines how the power amp tubes’ voicing
reacts when they are pushed hard. Set low for a tighter feel. Set high for
more tube compression. This parameter is highly reactive with the DRIVE &
MASTER settings.

Amp Edit - Page 4
Here you’ll find Microphone and Speaker Cabinet options.

Page 4 of the AMP:EDIT Screen (appears as Page 2 for Preamp Models)

6•9

Amp, Cab & Mic Models
Note: If you selected “No Cab” for your Cab Model, these Mic and Early Reflections settings will
perform no function since no Speaker, Mic or Early Reflections processing is applied.

• Knob 1: Sets the amount of “early reflections.” Higher values add more
reflective room sound to your Amp tone.
• Knob 2: Applies low frequency attenuation - helpful to tighten up the low
end of your tone.
• Knob 3: Selects the Mic type (see the Mic Model table on page 6•5).
Note: If you select the 1x15 Flip Top Bass Cab Model, you’ll see a unique set of Mic Models in
this list, best suited for Bass.

Amp Edit - Page 5
6•10

Here you’ll find even further “deep-editing” parameters for the Speaker Cab, allowing
you to surgically refine the the feel and frequency response to your personal taste.

• Knob 1: Adjusts the overall level of the modeled speaker Resonance, which
results in a more “lively,” brighter response on higher settings. Increasing the
Resonance Level will cause the overall volume to increase as well.
• Knob 2: Adjusts the low frequency level of the modeled speaker resonance.
Just as the name implies, increasing the value on this knob adds more low
end “Thump” to the Cab tone.
• Knob 3: Adjusts the Decay time of the modeled speaker resonance. This
control provides the feel of a “tighter” speaker cone at lower values and a
“looser” speaker at higher values.

Amp, Cab & Mic Models
Note: The above three Cab parameters are interactive - As the Resonance Level is decreased
so are the effects of the Thump and Decay parameters. Thump and Decay are applied to the
modeled speaker resonance, therefore, if the Resonance Level is set to a minimum, the effects
of Thump and Decay parameters will not be audible.
Resonance Level, Thump, and Decay controls will only be audible when the POD is in Studio/
Direct output mode.

Press the HOME button, or double-press the ENTER button to exit the AMP:EDIT screen
when done. Be sure to save your Preset to retain customized Amp Model settings.

Amp/Preamp Models

To follow is a table showing the classic amplifiers upon which all our HD Amp/Preamp
Models are based.* For more details, please also check out the POD HD Model Gallery,
available from http://line6.com/support/manuals/.

Amp/Preamp Model

POD HD Amp/Preamp Models
Based On...*

Amp Disabled

When selected, no Amp Model is loaded

Blackface Double Normal

‘65 “Blackface” Fender® Twin Reverb®, Normal input
channel

Blackface Double Vibrato

‘65 “Blackface” Fender® Twin Reverb®, Vibrato input
channel

Hiway 100

Hiwatt® Custom 100

Super O

‘60s Supro® S6616

Gibtone 185

Gibson® EH-185

Tweed B-Man Normal

‘59 Fender® Tweed Bassman®, Normal input channel

Tweed B-Man Bright

‘59 Fender® Tweed Bassman®, Bright input channel

Blackface ‘Lux Normal

Fender® “Blackface” Deluxe Reverb®, Normal input channel

Blackface ‘Lux Vibrato

Fender® “Blackface” Deluxe Reverb®, Vibrato input channel

Divide 9/15

Divided By 13 9/15

6•11

Amp, Cab & Mic Models

Amp/Preamp Model

6•12

POD HD Amp/Preamp Models
Based On...*

PhD Motorway

Dr. Z® Route 66

Class A-15

‘61 “Fawn” Vox® AC-15

Class A-30 TB

Vox® AC-30 “Top Boost”

Brit J-45 Normal

‘65 Marshall® JTM-45 MkII, Normal input channel

Brit J-45 Bright

‘65 Marshall® JTM-45 MkII, Bright input channel

Plexi Lead 100 Normal

‘59 Marshall® “Plexi” Super Lead 100, Normal input channel

Plexi Lead 100 Bright

‘59 Marshall® “Plexi” Super Lead 100, Bright input channel

Brit P-75 Normal

Park 75, Normal input channel

Brit P-75 Bright

Park 75, Bright input channel

Brit J-800

Marshall® JCM-800

Bomber Uber

2002 Bogner Uberschall

Treadplate

Mesa/Boogie® Dual Rectifier®

Angel F-Ball

Engl® Fireball 100

Line 6 Elektrik

A face-melting Line 6 original

Solo 100 Clean

‘93 Soldano® SLO 100, Normal channel, “Clean” mode

Solo 100 Crunch

‘93 Soldano® SLO 100, Normal channel, “Crunch” mode

Solo 100 OD

‘93 Soldano® SLO 100, Overdrive channel

Line 6 Doom

A Line 6 merging of a modded JCM800 preamp + Hiwatt®
power amp for maximum sludge

Line 6 Epic

A Line 6 creation offering epic sustain and distortion at
nearly all playing levels

Flip Top

Ampeg® B-15NF Portaflex® bass guitar amp

* All product names are trademarks of their respective owners, which are in no way associated or affiliated with Line 6. These product names and descriptions are provided for the sole purpose of identifying the specific products that were studied during Line 6’s sound model
development. Fender®, Twin Reverb®, Bassman® and Deluxe Reverb® are registered trademarks of Fender Musical Instruments Corporation. Vox® is a registered trademark of Vox R&D Limited. Marshall® is a registered trademark of Marshall Amplification Plc. Dr. Z®
is a registered trademark of Dr. Z Amps, Inc. Mesa/Boogie® and Dual Rectifier® are registered trademarks of Mesa/Boogie, Ltd. Engl® is a registered trademark of Beate Ausflug and Edmund Engl. Hiwatt® is a registered trademark of Hiwatt Equipment Limited Company,.
UK. Gibson® is a registered trademark of Gibson Guitar Corp. Supro® is a registered trademark of Zinky Electronics. Soldano® is a registered trademark of Gremlin Inc. DBA Soldano Custom Amplilfication Corporation. Ampeg® and Portaflex® are registered trademarks
of St. Louis Music, Inc..

Amp, Cab & Mic Models

Amp Control Labels
For some Amp Models, you’ll see slightly different labels for the Amp Tone knobs
displayed in the Amp:Edit screen. In the cases where the classic amps we’ve modeled
include special knob controls, we’ve emulated their behaviors accordingly.
These are listed as follows:
• Super O: The actual Supro® only has a Drive and a Tone knob, so we mapped
Tone to the MID knob and invented Bass, Treble, and Presence controls:

Super O Amp:Edit screen

• Divide 9/15: The Divided by 13 amp offers two interactive channels. The
DRIVE knob controls the “clean” channel, and the BASS knob is being used as
the Drive knob for the “dirty” channel. The MID & TREBLE knobs behave like
the amp’s Tone & Cut knobs.

Divide 9/15 Amp:Edit screen

• Class A-15 & Class A-30TB: Following the Vox® design, we’ve labeled the
MID knob as “Cut” for these two Amp Models - turning the knob counterclockwise reduces the high-end frequencies.

Class A-15 & Class A-30TB Amp:Edit screen
* All product names are trademarks of their respective owners, which are in no way associated or affiliated with Line 6. These product names and descriptions are provided for the sole purpose of identifying the specific products that were studied during Line 6’s sound model
development. Fender®, Twin Reverb®, Bassman® and Deluxe Reverb® are registered trademarks of Fender Musical Instruments Corporation. Vox® is a registered trademark of Vox R&D Limited. Marshall® is a registered trademark of Marshall Amplification Plc. Dr. Z®
is a registered trademark of Dr. Z Amps, Inc. Mesa/Boogie® and Dual Rectifier® are registered trademarks of Mesa/Boogie, Ltd. Engl® is a registered trademark of Beate Ausflug and Edmund Engl. Hiwatt® is a registered trademark of Hiwatt Equipment Limited Company,.
UK. Gibson® is a registered trademark of Gibson Guitar Corp. Supro® is a registered trademark of Zinky Electronics. Soldano® is a registered trademark of Gremlin Inc. DBA Soldano Custom Amplilfication Corporation. Ampeg® and Portaflex® are registered trademarks
of St. Louis Music, Inc..

6•13

Amp, Cab & Mic Models

Cab Models

To follow is a table showing the classic speaker cabinets upon which our Cab Models
are based.

Cab Model

6•14

POD HD Cab Models
Based On...*

No Cab

Choosing this option applies no Speaker, Mic or Early
Reflections processing to your Amp Model.

212 Blackface Double

Fender® “Blackface” Twin Reverb® combo cabinet, 2x12 inch
Jensen® speakers

412 Hiway

Hiwatt® cabinet, 4x12 inch Fane® 12287 50 watt speakers

6x9 Super O

Supro® S6616 combo cabinet, one “6x9” size speaker

112 Field Coil

Gibson® EH-185 combo cabinet, 1x12 Field Coil Speaker

410 Tweed

‘59 Fender® Tweed Bassman® combo cabinet, 4x10 inch
Jensen® alnico speakers

112 BF ‘Lux

Fender® “Blackface” Deluxe Reverb® combo cabinet , one 12
inch Oxford 12K5-6 speaker

112 Celest 12-H

Divided By 13 9/15 combo cabinet, one 12 inch Celestion®
G12H Heritage (70th anniversary) speaker

212 PhD Ported

Dr. Z®, Z Best cabinet, 2x12 inch Celestion® speakers (one
G12H Heritage and one Vintage 30)

112 Blue Bell

‘61 “Fawn” Vox® AC-15 combo cabinet, one 12 inch
Celestion® Alnico Blue speaker

212 Silver Bell

Vox® AC-30 “Top Boost,” 2x12 inch Celestion® Alnico Silver
Bell speakers

412 Greenback 25

Marshall® cabinet, 4x12 inch Celestion® G12M “Greenback”
speakers

412 Blackback 30

Marshall® cabinet, 4x12 inch Celestion® Rola G12H30W
“Blackback” speakers

412 Brit T-75

Marshall® cabinet, 4x12 inch Celestion® G12T75 speakers

412 Uber

Bogner Uberschall cabinet, 4x12 inch Celestion® speakers (2 x
G12T75 and 2 x Vintage 30 speakers)

* All product names are trademarks of their respective owners, which are in no way associated or affiliated with Line 6. These product names and descriptions are provided for the sole purpose of identifying the specific products that were studied during Line 6’s sound model
development. Fender®, Twin Reverb®, Bassman® and Deluxe Reverb® are registered trademarks of Fender Musical Instruments Corporation. Vox® is a registered trademark of Vox R&D Limited. Marshall® is a registered trademark of Marshall Amplification Plc. Dr. Z®
is a registered trademark of Dr. Z Amps, Inc. Mesa/Boogie® and Dual Rectifier® are registered trademarks of Mesa/Boogie, Ltd. Engl® is a registered trademark of Beate Ausflug and Edmund Engl. Hiwatt® is a registered trademark of Fernandes Company, Ltd. Fane® is a
trademark of Fane International. Gibson® is a registered trademark of Gibson Guitar Corp. Supro® is a registered trademark of Zinky Electronics. Ampeg® is a registered trademark of St. Louis Music, Inc.

Amp, Cab & Mic Models

Cab Model

POD HD Cab Models
Based On...*

412 Tread V-30

Mesa/Boogie® cabinet, 4x12 inch Celestion® Vintage 30
speakers

412 XXL V-30

Engl® Pro cabinet, 4x12 inch Celestion® Vintage 30 speakers

115 Flip Top

Ampeg® Custom Design, CTS 15 inch speaker (Bass Cab)

6•15

* All product names are trademarks of their respective owners, which are in no way associated or affiliated with Line 6. These product names and descriptions are provided for the sole purpose of identifying the specific products that were studied during Line 6’s sound model
development. Fender®, Twin Reverb®, Bassman® and Deluxe Reverb® are registered trademarks of Fender Musical Instruments Corporation. Vox® is a registered trademark of Vox R&D Limited. Marshall® is a registered trademark of Marshall Amplification Plc. Dr. Z®
is a registered trademark of Dr. Z Amps, Inc. Mesa/Boogie® and Dual Rectifier® are registered trademarks of Mesa/Boogie, Ltd. Engl® is a registered trademark of Beate Ausflug and Edmund Engl. Hiwatt® is a registered trademark of Fernandes Company, Ltd. Fane® is a
trademark of Fane International. Gibson® is a registered trademark of Gibson Guitar Corp. Supro® is a registered trademark of Zinky Electronics. Ampeg® is a registered trademark of St. Louis Music, Inc. Celestion® is a registered trademark of Celestion International Ltd.
Jensen® is a registered trademark of Jensen Loudspeakers and Audiovox Corporation.

FX Models

FX Models
POD HD500X® includes a plethora of amazing FX Models, primarily from the popular
Line 6 M13 Stompbox Modeler! This chapter provides Reference Tables showing all
POD HD500X FX Models by category, as well as details on their parameters. FX Model
parameters are all accessible within the Edit Mode. Please see “FX Edit Mode” on page
5•1 for details on Edit Mode features.
TIP: For more details about the POD HD500X FX Models, please also check out the POD HD
Model Gallery and M13 Advanced Guide documents, available from http://line6.com/
support/manuals/.

Dynamics Models
Dynamics FX Models - Parameter Reference Table
Model

Parameters

Noise Gate

Threshold

Decay

Hard Gate

Open Threshold

Close Threshold

Hold

Decay

Tube Comp

Threshold

Level

Red Comp

Sustain

Level

Blue Comp

Sustain

Level

Blue Comp Treb

Sustain

Level

Vetta Comp

Sensitivity

Level

Vetta Juice

Amount

Level

Boost Comp

Drive

Bass

Comp

Treble

Output

Common Parameters
The following parameters are common to most Dynamics FX Models.
• Threshold: For compressor FX, lower values result in greater compression, along
with an automatic makeup gain stage dependent upon the Threshold setting.
• Sustain: Some compressors include Sustain, which is much the same as a Threshold
control, but functions in reverse - higher settings add more compression and thus
more sustain and squishy goodness.
• Level: Adjusts overall volume - higher settings typically offer an output boost.

7•1

FX Models

Distortion Models
Distortion Model - Parameter Reference Table
Model

7•2

Parameters

Tube Drive

Drive

Bass

Mid

Treble

Output

Screamer

Drive

Bass

Tone

Treble

Output

Overdrive

Drive

Bass

Mid

Treble

Output

Classic Dist

Drive

Bass

Filter

Treble

Output

Heavy Dist

Drive

Bass

Mid

Treble

Output

Color Drive

Drive

Bass

Mid

Treble

Output

Buzz Saw

Drive

Bass

Mid

Treble

Output

Facial Fuzz

Drive

Bass

Mid

Treble

Output

Jumbo Fuzz

Drive

Bass

Mid

Treble

Output

Fuzz Pi

Drive

Bass

Mid

Treble

Output

Jet Fuzz

Drive

Fdbk

Tone

Speed

Output

Line 6 Drive

Drive

Bass

Mid

Treble

Output

Line 6 Distortion

Drive

Bass

Mid

Treble

Output

Sub Octave Fuzz

Drive

Bass

Sub

Treble

Output

Octave Fuzz

Drive

Bass

Mid

Treble

Output

Common Parameters
The following parameters are common to most Distortion FX Models.
• Drive: Adjusts the amount of overdrive, distortion or fuzz.
• Bass: Adjusts Bass EQ level

• Mid: Adjusts the Midrange EQ level.
• Treble: Adjusts Treble EQ level.

• Output: Adjusts overall volume level - higher settings offer an output boost.

FX Models

Modulation Models
Modulation Models - Parameter Reference Table
Model

Parameters

Pattern Tremolo

Speed

Step 1

Step 2

Step 3

Step 4

Panner

Speed

Depth

Shape

VolSens

Mix

Bias Tremolo

Speed

Level

Shape

VolSens

Mix

Opto Tremolo

Speed

Level

Shape

VolSens

Mix

Script Phase

Speed

Panned Phaser

Speed

Depth

Pan

Pan Spd

Mix

Barberpole Phaser

Speed

Fdbk

Mode

Mix

Dual Phaser

Speed

Depth

Fdbk

LFO Shp

Mix

U-Vibe

Speed

Depth

Fdbk

VolSens

Mix

Phaser

Speed

Depth

Fdbk

Stages

Mix

Pitch Vibrato

Speed

Depth

Rise

VolSens

Mix

Dimension

Sw1

Sw2

Sw3

Sw4

Mix

Analog Chorus

Speed

Depth

Ch Vib

Tone

Mix

Tri Chorus

Speed

Depth

Depth2

Depth3

Mix

Analog Flanger

Speed

Depth

Fdbk

Manual

Mix

Jet Flanger

Speed

Depth

Fdbk

Manual

Mix

AC Flanger

Speed

Width

Regen

Manual

80A Flanger

Speed

Range

Enhance

Manual

Even Odd

Frequency Shifter

Freq

Mode

Mix

Ring Modulator

Speed

Depth

Shape

AM/FM

Mix

Rotary Drum

Speed

Depth

Tone

Drive

Mix

Rotary Drm/Hrn

Speed

Depth

Horn Dep

Drive

Mix

7•3

FX Models

Common Parameters
The following parameters are common to most Modulation FX Models.
• Speed: Adjusts the modulation/oscillation/tremolo speed for the effect, with higher
settings providing faster rates. Note that the Speed can be adjusted to a Hz value or
Note Division:

• Choosing a Hz value provides a specific modulation speed in cycles per
second.
• Choosing a Note Division value provides a time that is based on the current
Tap Tempo (see “Tap Tempo” on page 1•4).
• Depth: Adjusts the intensity of the modulation. Higher settings result in more
extreme pitch bending, wobble or throb, depending on the effect.
• Fdbk (Feedback): The amount of delayed signal that is fed back into the effect.
Higher settings can provide more dramatic textures.

7•4

• Mix: Sets the balance of the “Dry” and “Wet” signals. At 0% no effect is added to
your signal; at 100% you will hear the effected signal only. For Chorus, Flanger &
Phase FX, results are typically best with the Mix set between 0 to 50%. For Vibrato,
Tremolo and Rotary FX, try the Mix at 90 - 100%. Feel free to experiment!
Note that the Script Phase, Pattern Tremolo , AC Flanger & 80a Flanger do not offer a Mix
parameter. Their dry/wet balance is “fixed” just like the classic pedals that inspired them!

Filter Models
Filter Models - Parameter Reference Table
Model

Parameters

Voice Box

Speed

Start

End

Auto

Mix

V-Tron

Start

End

Speed

Mode

Mix

Q Filter

Freq

Gain

Type

Mix

Vocoder

Mic

Input

Decay

Mix

Seeker

Speed

Freq

Steps

Mix

Obi Wah

Speed

Freq

Type

Mix

FX Models

Filter Models - Parameter Reference Table
Model

Parameters

Tron Up

Freq

Range

Type

Mix

Tron Down

Freq

Range

Type

Mix

Throbber

Speed

Freq

Wave

Mix

Slow Filter

Freq

Speed

Mode

Mix

Spin Cycle

Speed

Freq

VolSens

Mix

Comet Trails

Speed

Freq

Gain

Mix

Octisynth

Speed

Freq

Depth

Mix

Synth O Matic

Freq

Wave

Pitch

Mix

Attack Synth

Freq

Wave

Speed

Pitch

Mix

Synth String

Speed

Freq

Attack

Pitch

Mix

Growler

Speed

Freq

Pitch

Mix

Common Parameters
The following parameters are common to most Filter FX Models.
• Frequency: Selects the center frequency used by the effect.
• Q: Adjusts the frequency width of the filter in use.

• Speed: Adjusts the rate of the model’s modulation or oscillators, can be adjusted
to a Hz value or Note Division:
• Choosing a Hz value provides a specific modulation speed in cycles per
second.
• Choosing a Note Division value provides a time that is based on the current
Tap Tempo (see “Tap Tempo” on page 1•4)
• Mix: Sets the balance of the “Dry” and “Wet” signals. At 0% no effect is added to
your signal; at 100% you will hear the effected signal only. For most Filter FX, try
the 100% setting to achieve the full weirdness factor.

7•5

FX Models

Pitch Models
Pitch Models - Parameter Reference Table
Model

Parameters

Bass Octaver

Tone

Normal

Octave

Pitch Glide

Pitch

Mix

Smart Harmony

Key

Shift

Scale

Mix

Pitch FX Model Parameters
Since these FX are a bit more complex, we’ve provided examples of each Pitch FX
Model’s Edit Mode screen and parameter descriptions.

Bass Octaver

7•6

• Tone: The overall tone of the effect.

• Normal: Controls the volume of the dry signal.

• Octave: Controls the volume of the processed, octave signal.

Pitch Glide

FX Models

This effect is best used by assigning your POD® HD500X pedal to the Pitch parameter
to “wham” out some wild pitch-bending effects!
• Pitch: Manually lets you select the Pitch. For best results you’ll want to set your
heel and toe values using your POD HD500X pedal!*
• Mix: Controls the balance of wet & dry signals.
*Note: To assign your pedal, double tap on the MOVE button and choose “Pitch” as the parameter
to be controlled (see “Expression Pedal & Variax® Knob Controller Assignment” on page
3•6). Try setting the MIN VALUE to 0% and the MAX to 100% to allow your pedal to sweep
the full Pitch range, and set the MIX to 100% to hear only the pitched signal.

Smart Harmony

7•7

Select a Scale, Key and Shift value and our DSP algorithms will do the rest, producing a
perfect harmony note along with your guitar riffs.
The available parameters are:
• Key: Select the Key you’ll be playing in.

• Shift: Determines the interval value for the desired harmony note.

• Scale: Select the Scale you’d like to use (see the following instructions and table).
• Mix: Sets the balance or your dry signal + harmony notes.

The Smart Harmony effect automatically detects your guitar’s single-note pitch and
shifts it to match a user-selected Key and Scale. A choice of Keys is provided - Consult
the table below to achieve other scalic modes.

FX Models

• Choose your Key on the left, then your mode on the top.
• The cell where the two connect is the Key to choose to get to the mode you’d like.
For example, for C - Lydian, the Scale you want is G Major.
Key
A

Ionian

Dorian

Phrygian

A Maj

G Maj

F Maj

B Maj

A Maj

C Maj

Mode
Lydian

Mixolydian

Aeolian

Locrian

E Maj

D Maj

C Maj

Bb Maj

G Maj

Gb Maj

E Maj

D Maj

C Maj

Bb Maj

Ab Maj

G Maj

F Maj

Eb Maj

Db Maj

D Maj

C Maj

Bb Maj

A Maj

G Maj

F Maj

Eb Maj

E Maj

D Maj

C Maj

B Maj

A Maj

G Maj

F Maj

Eb Maj

Db Maj

C Maj

Bb Maj

Ab Maj

Gb Maj

G Maj

F Maj

Eb Maj

D Maj

C Maj

Bb Maj

Ab Maj

Smart Harmony Model - Scale Reference Table

7•8

Preamp+EQ Models
Preamp+EQ Models - Parameter Reference Table
Model

Parameters

Graphic EQ

80Hz

220Hz

480Hz

1.1kHz

2.2kHz

Parametric EQ

Lows

Highs

Freq

Gain

Studio EQ

Low Freq

Low Gain

Hi Freq

Hi Gain

Gain

4 Band Shift EQ

Low

Low Mid

Hi Mid

Shift

Mid Focus EQ

Hi Pass Freq

Hi Pass Q

Low Pass Freq

Low Pass Q

Gain

Vintage Pre

Gain

Output

Phase

Hi Pass Filter Lo Pass Filter

Common Parameters
The following parameters are common to EQ Models.
• Frequency (as well as Low, Mid, High): Selects the center frequency or range
for the particular EQ Band. (The Graphic EQ model includes “fixed” Bands where
the gain is adjustable for each.)

FX Models

• Q: Adjusts the frequency width or shape of the frequency band filter.

• Gain: Adjust the output level of the particular Band. (The Gain parameters
accessed by Multi-function Knob #4 adjust the overall output level.)

Vintage Pre

This Model is a vintage-voiced, mono tube mic preamp based on* the Requisite® Y7
vintage Tube Mic Preamp, excellent for use with your Mic source input, Variax acoustic
guitar models, or even in conjunction with Bass or Guitar Amps, anywhere in the signal
path, to provide some nice tube warmth.
• Gain: Dial in the amount of input gain - higher levels will add some tube distortion.
• Output: Determines the final output level, capable of a significant signal boost.

• Phase: Choose 0 for normal, or 180 to reverse the phase. (It can sometimes
be necessary to reverse the phase of one mic’ed signal when combined with
another, to correct for a resulting “hollow,” out-of-phase sound.)
• HPF: A High Pass Filter to reduce bass frequencies. Increase this Hz value to
choose where the low frequency reduction begins.
• LPF: A Low Pass Filter to reduce treble frequencies. Decrease this KHz value to
choose where the high frequency reduction begins.

Requisite® is a registered trademark of Requisite Audio Engineering.

7•9

FX Models

Delay Models
Delay Models - Parameter Reference Table
Model

7•10

Parameters

Ping Pong

Time

Fdbk

Offset

Spread

Mix

Dynamic Dly

L Time

L Fdbk

R Time

R Fdbk

Mix

Stereo Delay

Time

Fdbk

Thresh

Ducking

Mix

Digital Delay

Time

Fdbk

Bass

Treble

Mix

Dig Dly W/Mod

Time

Fdbk

ModSpd

Depth

Mix

Reverse

Time

Fdbk

ModSpd

Depth

Mix

Lo Res Delay

Time

Fdbk

Tone

Res

Mix

Tube Echo

Time

Fdbk

Wow/Flt

Drive

Mix

Tube Echo Dry

Time

Fdbk

Wow/Flt

Drive

Mix

Tape Echo

Time

Fdbk

Bass

Treble

Mix

Tape Echo Dry

Time

Fdbk

Bass

Treble

Mix

Sweep Echo

Time

Fdbk

Swp Spd

Swp Dep

Mix

Sweep Echo Dry

Time

Fdbk

Swp Spd

Swp Dep

Mix

Echo Platter

Time

Fdbk

Wow/Flt

Drive

Mix

Echo Platter Dry

Time

Fdbk

Wow/Flt

Drive

Mix

Analog W/Mod

Time

Fdbk

ModSpd

Depth

Mix

Analog Echo

Time

Fdbk

Bass

Treble

Mix

Auto-Volume Echo

Time

Fdbk

ModDep

Swell

Mix

Multi-Head

Time

Fdbk

Heads 1-2

Heads 3-4

Mix

Common Parameters
The following parameters are common to most Delay FX Models.
• Time: Adjusts the delay/repeat time, with higher settings providing longer delays.
Time can be adjusted to a MS value or Note Division:

FX Models

• Choosing a MS value provides a specific time in milliseconds.
• Choosing a Note Division value provides a time that is based on the current
Tap Tempo (see “Tap Tempo” on page 1•4).
• Fdbk (Feedback): Sets the number of delayed repeats.
• Depth: Some delays include modulation. These will typically include a Depth
parameter to adjust the intensity of the pitch modulation applied to the repeats.
• ModSpd: Control the speed of the pitch modulation.

• Mix: Sets the balance of the “Dry” and “Wet” signals. At 0% no effect is added to
your signal; at 100% you will hear the delayed signal only.

Reverb Models
Reverb Models - Parameter Reference Table
Model

Parameters

Plate

Decay

PreDelay

Tone

Mix

Room

Decay

PreDelay

Tone

Mix

Chamber

Decay

PreDelay

Tone

Mix

Hall

Decay

PreDelay

Tone

Mix

Echo

Decay

PreDelay

Tone

Mix

Tile

Decay

PreDelay

Tone

Mix

Cave

Decay

PreDelay

Tone

Mix

Ducking

Decay

PreDelay

Tone

Mix

Octo

Decay

PreDelay

Tone

Mix

Spring

Decay

PreDelay

Tone

Mix

‘63 Spring

Decay

PreDelay

Tone

Mix

Particle Verb

Dwell

Condition

Gain

Mix

7•11

FX Models

Common Parameters
The following parameters are common to all Reverb Models, with the exception of the
Particle Verb Model, which we’ve described separately.
• Decay: Sets the length of time the reverb effect sustains.

• Predelay: Configures the time before the reverb effect is heard.

• Tone: Adjusts the overall Tone of the wet reverb signal. Higher settings provide a
brighter, more reflective reverb quality.
• Mix: Sets the balance of the dry & wet signals, from 0% (dry signal only) to 100%
(wet reverb signal only).

Particle Verb

7•12

A new kind of reverb effect which turns your chords into a lush modulated pad in
STABLE mode. CRITICAL mode is similar, but with a slight rise in pitch. In HAZARD
mode, all stops are removed. The parameters for this model differ from the other
Reverbs:
• Dwell: Essentially a decay parameter, which adjusts the length of time the reverb
tail lasts.
• Condition: Choose between STABLE, CRITICAL and HAZARD here for some
different reverb experiences!
• Gain: Sets overall output level of the effect.

FX Models

Volume/Pan & Wah Models

The Volume/Pan and Wah sets of Models are all just waiting to be put to use with your
POD HD500X pedal! To follow is info on the FX parameters & some tips on using them.

When you add any Volume or Wah model to your tone, they are automatically assigned to
be controlled with your POD HD500X Expression Pedal! Please see “Expression Pedal &
Variax® Knob Controller Assignment” on page 3•6 for more information.

Volume/Pan Models - Parameter Reference Table
Model

Parameter

Volume

Volume Level

Pan

Pan L-R Balance

Volume

7•13

Volume: Adjusts the signal level. 100% is unity gain. This parameter can be accessed
via the Multi-function knob at any time. With your EXP Pedal assigned to control the
Volume, you’ll see this Volume parameter visually adjust with the pedal as well.

FX Models

Pan

• Pan: Adjusts the signal balance sent to the let and right stereo channels. 0%
sends full left, 50% sends equally left & right, and 100% sends full right.
The audible effect heard when using the Pan can differ quite a bit depending on the
position in your signal chain and what types of FX follow it. Here are a few examples:

Before Path A & B split

7•14
Pan positioned before Path A & B split

When placed here, your guitar signal is panned left to Path A and right to Path B. This
can be a cool way to “blend” the sounds of two Amp models.

After Path A & B Mixer

Pan positioned after Path A & B Mixer

In this position, the stereo left & right signals fed into the Pan is determined by your
Mixer Pan settings. The Pan effect then pans these signal to the left and right main
outputs. Obviously, you’ll only benefit from using the Pan in this post-Mixer position
when utilizing both the left and right outputs from POD HD500X.

FX Models

Placing a Mono Output FX Model after the Pan

Mono FX Model (EQ) positioned after Pan

Just as with all stereo FX Models, when a mono FX Model is placed after the Pan,
the Pan Model’s output will become “mono-ized, as described in “Model Types and
Mono/Stereo Signal Routing” on page 3•5. Therefore, you’ll typically want to
avoid placing a mono FX Model later within the same signal path as the Pan Model.

Wah Models
Wah Models - Parameter Reference Table
Model

Parameters

Fassel

Position

Mix

Conductor

Position

Mix

Throaty

Position

Mix

Colorful

Position

Mix

Vetta Wah

Position

Mix

Chrome

Position

Mix

Chrome Custom

Position

Mix

Weeper

Position

Mix

Common Parameters
Each Wah offers the following two parameters:
• Position: This controls the “sweep” of the Wah. Any Wah Model is best used
with this parameter assigned to your pedal, however, you can also access this
parameter with the Multi-function Knob, such as to dial in a “parked” Wah tone.
• Mix: Sets the balance of the “Dry” and “Wet” signals. At 0% no Wah effect is
added to your signal; at 100% you will hear the Wah-effected signal only. Try
lowering the Mix to less than 100% for a more subtle effect!

7•15

Using the Looper

Looper Mode
The Looper in POD® HD500X offers you up to 48 seconds of mono recording time
(in Half-Speed Mode) or 24 seconds recording time (in Normal Mode), as well as the
ability to undo, record overdubs, playback Loops at half speed, in reverse, and more!

Looper Footswitch Controls & Performance View

When you engage the Looper mode, the POD HD500X footswitches control the
Looper according to their function labels, providing hands-free operation.

The Looper footswitch controls

Additionally, the LCD Performance View displays the behavior of several Looper
functions. You can think of these as “this is what will happen when the respective
footswitch is pressed” indicators. Press the VIEW button to show this screen whenever
you use the Looper. (Also see the Looper FS Display options - “Page 1, Setup: Utilities
Options” on page 2•1.)

The Performance View, Looper functions

8•1

Using the Looper

To follow are descriptions for each of the footswitch functions and Performance View
while Looper mode is active.
LOOPER - Toggles Looper Mode On/Off. When this switch’s LED is lit, the POD

HD500X Looper Mode is active. The Performance View screen will display the
Looper functions when the Looper is active, as shown above.

UNDO - Use the FS1 switch to “undo” the last recorded overdub. You can press

this footswitch while actively in Overdub-Record mode, Loop Playback mode,
or while stopped and only the last recorded overdub is erased. This function
will not erase the originally recorded Loop.

Pressing the FS2 switch plays your recorded Loop (including overdubs,
if you’ve recorded any) for one cycle. Cool for triggering a pre-recorded phrase on
demand!

PLAY ONCE -

While playback is active, the Play/Stop icon appears as “STOP,” to indicate
that it can be pressed to stop playback immediately.

•

PRE/POST - Toggling the FS3 switch determines the position of the Looper in your Signal

Flow, which dictates whether Amp & FX processing is added to your guitar signal
during the recording of your Loop, or only for the Loop’s playback.

8•2

• PRE (FS3 switch light is Off): Your guitar signal is recorded unprocessed (i.e. - the
Loop is recorded “pre” Amp & FX processing). When played back, the Loop audio
is mixed with incoming guitar to feed the current Preset’s Amp & FX processing. If
you change Presets or tone settings while set to PRE, you’ll hear them applied to your
Loop playback.
•

When the Looper is set to PRE, the Pre/Post icon appears as “POST,”
to indicate that pressing the PRE/POST footswitch will set the Looper to
POST.

• POST(FS3 switch light is on): Your guitar signal is recorded processed (i.e. - the Loop is
recorded “post” Amp & FX processing). When played back, the Loop audio is mixed
with incoming guitar AFTER the guitar signal has been processed through the Amp
and FX. This provides the ability select a new Preset which is applied only on your
guitar input, while the Loop plays back with the original recorded Preset tone!

Using the Looper

•

When the Looper is set to POST, the Pre/Post icon appears as “PRE,”
to indicate that pressing the PRE/POST footswitch will set the Looper to
PRE.

Note: If you record your Loop in POST mode and then switch to PRE for Loop playback,
this results in the current Amp+FX to be applied to the Loop playback (where the Loop was
already recorded with Amp+FX applied). Be aware that this can cause the Loop playback to be
significantly louder!
REC/OVERDUB - To record a Loop, step on the FS5 switch and POD HD500X will
immediately start recording. The footswitch will remain lit while recording is active.
You’ll see the Performance View display the following:

The Record function shows “DUB IN.” Pressing the REC/OVERDUB switch
will immediately put you into Overdub-Record mode.

•
•

•

If you press REC/OVERDUB at this time, whatever you play will be
recorded on top of the original Loop recording, and you’ll see the
Performance View indicator show “DUB OUT.” Press the switch again
to stop the overdub recording.
The Play/Record function shows “STOP” to indicate that pressing the PLAY/
STOP switch will stop playback & recording.

Once you have a Loop recorded, you can layer an overdub on top of your current
Loop at any time. Simply play back the Loop and step on the REC/OVERDUB switch
while the Loop is playing. Your new live guitar will be recorded on top of your previously
recorded Loop. You can repeat this step and layer as many overdubs as you like!
Note: If you press REC/OVERDUB while Loop playback is stopped, this will always

record a new Loop, and any previously recording will be discarded.

8•3

Using the Looper
PLAY/STOP - Press the FS6 switch to toggle Play/Stop for your recorded Loop. If you
are actively recording a Loop, press this switch to stop recording set your Loop “out”
point. The FS6 switch remains lit whenever playback is active.

•

While playback is active, the Play/Stop icon appears as “STOP.”

1/2 SPEED - Press the FS7 switch to toggle the 1/2 Speed feature On/Off. The FS7 switch

remains lit whenever 1/2 Speed is active.

Note that you can use the 1/2 Speed option for recording as well as playback. Specific behaviors
apply to each - please see “1/2 Speed Operation” on page 8•6.

8•4

•

When 1/2 Speed is active, the Speed icon appears as “FULL.”

•

When 1/2 Speed is Off, the Speed icon appears as “1/2.”

REVERSE - Press the FS8 switch to toggle the Reverse Play feature On/Off. All Loop
playback is backwards when on. The FS8 switch remains lit whenever Reverse is active.

•

When Reverse is active, the Reverse icon appears as “FWD.”

•

When Reverse is Off, the Reverse icon appears as “REV.”

Using the Looper

Looper Settings

Press the VIEW button to display the Signal Flow View screen and select the Looper to
access several additional settings.

The Signal Flow View screen, Looper options

• 1 Playback - Use Multi-function Knob 1 to adjust the Looper playback volume.
You may find it useful to turn this down a bit so that your live guitar can be slightly
louder.
• 2 Overdub - Use Multi-function Knob 2 to determine the volume of your loop in
Overdub mode. For example, if your Overdub Level is set to 90%, each time your
loop begins a new overdub its volume will be reduced by 10%, sounding quieter and
quieter with each overdub pass.
• 3 Hi Cut & 4 Lo Cut - Use Multi-function Knobs 3 & 4 to adjust these EQ options,
to reduce the treble and bass of your Loop playback. It can be helpful to reduce these
to optimize the “mix” of your Loop playback with your live guitar. These controls
reduce the High and Low frequencies more as you raise their values.

8•5

Using the Looper

1/2 Speed Operation
The Looper utilizes both the 1/2 Speed and Full Speed options for recording and
playback. These options directly affect the maximum Loop recording time.
POD HD500X Looper Record
Time
Full Speed

24 Seconds maximum

1/2 Speed

48 Seconds maximum

Specific behaviors apply, as follows:
• Full Speed: When set to Full Speed before recording, the Looper provides up to
24 seconds max. recording time.
• Playback of the recorded Loop at the Full Speed setting is heard just as
recorded.
• If you change the setting to 1/2 Speed, your recorded Loop is played back at
half speed, as well as pitched one octave lower.
• 1/2 Speed: When set to 1/2 Speed before recording, the Looper provides up to
48 seconds maximum recording time.

8•6

• Playback of the recorded Loop at the 1/2 Speed setting is heard just as
recorded.
• If you change the setting to Full Speed, your recorded Loop is played back at
double speed, as well as pitched one octave higher.

USB Audio

USB Audio
In this chapter, we’ll cover the USB audio capabilities of POD® HD500X. With the
installation of the Line 6 USB audio driver, you can use POD HD500X as a high quality
audio interface for your Mac® or Windows® computer!

The Line 6 USB Audio Driver

Before you connect POD HD500X to your computer, it is recommended that you
download and install the free Line 6 POD HD500X Edit software. This installs the
necessary Line 6 USB Audio Driver*, as well as the Line 6 Monkey update utility (also
see “Launch Line 6 Monkey” on page A•1).

*NOTE: As of the POD HD500X USB Device Driver version 5.7.0, Mac OS® X 10.4 (Tiger®) is
no longer supported. To use the POD HD500X USB connection with a Mac® running OS® X
10.4, you’ll need to download and install the earlier POD HD500X Driver version 5.1.2, available
from http://line6.com/software/.

The Line 6 Software Downloads site - selecting the POD HD500X Edit software

Once installation is complete, just connect your device directly to a USB 2.0 port on
your computer and power On your POD HD500X. Note that POD HD500X requires the
use of a USB 2.0 port on your computer (not into a USB hub).
Also see the POD HD500X Edit Installer Guide and the POD HD500X Edit Pilot’s
Guide, available from http://line6.com/support/manuals.

9•1

USB Audio

Audio Routing
When using the POD HD500X USB connection, the audio driver manages several
tasks. The driver feeds the processed guitar signal out the USB Record Send to your
computer and receives playback audio from the computer. It also grabs the processed
guitar signal before routing it to the Record Send, to provide a low latency monitor
signal, and then mixes the monitor signal with the playback audio and feeds this
combined signal to your POD HD500X analog outputs.
Note that all USB audio is muted whenever a L6 LINK™ connection is active between POD
HD500X and a DT50™ or DT25™ amplifier.
Mix of monitor signal + playback
audio fed to analog outputs
Playback audio
from computer

Record Send
audio to
computer

USB audio routing provided by the Line 6 USB audio driver

9•2

The POD HD500X Record Send
As shown above, the Record Send is the virtual “pipeline” that carries your POD HDprocessed, 24-bit digital signal across the USB connection, making it available to your
audio software as an input signal for recording.
The POD HD500X Record Send appears as an available audio input/recording device
within your audio software. Simply select this Send as the input for your audio track
and you’ll be able to record your POD HD500X signal. The level of the signal fed to
the Send is affected by your POD HD500X controls: Mixer block Volume A & B, Amp
Model Drive & Volume, FX Model Gain controls, Volume Pedal, etc., (but not the Master
Volume knob). For the best recording quality, watch the input meters provided in your
software and adjust your level to be at least halfway up, but never “clipping.”

USB Audio
Note that the type of audio signal fed to the Record Sends is controlled by the Output Mode
setting found in the POD HD500X Setup:Outputs screen. For most USB recording
situations, you’ll likely want to set this to “Studio/Direct.” Please see “Page 4, Setup: Output
Options” on page 2•7 for more info.

The Line 6 Audio-MIDI Devices Panel

The Line 6 Audio-MIDI Devices utility is the place where you configure various audio
driver settings. The options in the Line 6 Audio-MIDI Devices dialog are slightly different
if you are on a Mac® versus a Windows® system. See the following descriptions that
match your setup: For Mac® see next section, or for Windows® see page 9•9.

Mac® - Line 6 Audio-MIDI Devices

Launch the Line 6 Audio-MIDI Devices utility from within the Mac® System
Preferences. This utility provides access to several driver options.

Line 6 Audio-MIDI Settings - Driver Options (Mac®)

3
4

9•3
5
6
7

The Line 6 Audio-MIDI Settings window - Driver page

USB Audio

1 Device Selector: Select your POD HD500X here. If you have more than one supported
Line 6 audio device connected, each will be selectable in this list.
2 Driver Version: Displays the current device’s installed driver version number.
3 ESN: Displays the current device’s unique Electronic Serial Number.
4 Driver/Inputs & Recording Selector: Choose between displaying the two pages of
the Driver Options window. (Also see “Inputs & Recording Page” on page 9•4.)
5 Run Audio MIDI Setup: Mac® Core Audio interface driver settings are configured in
the Mac OS® X Audio MIDI Setup utility. This button launches this dialog for you (see
“Mac OS® X Audio MIDI Setup Utility” on page 9•6).
6 Sample Rate Converter Active: You’ll see this indicator light up whenever the device
is operating at a sample rate other than its native 48kHz rate. In addition to 48kHz, POD
HD500X supports 44.1kHz, 88.2kHz and 96kHz rates by utilizing an internal sample
rate converter. Please check your specific software’s documentation for details on
configuring its audio sample rate.
7 USB Audio Streaming Buffer: Adjusts the buffer size for the audio responsiveness
of the Input Monitoring signal. Basically, the default setting should be fine for most
systems, but if getting audio dropouts or working with large CPU demands on your
system, raise the slider a notch or two to the right until it alleviates the problem.

Inputs & Recording Page
9•4

USB Audio

9
The Line 6 Audio-MIDI Settings window - Inputs & Recording page

8 Record Sends List: Displayed here are the Record Sends for the current Line 6
device that will be available to your audio software. For POD HD500X you’ll see the
one, stereo “1-2 Main Out” Record Send.
9 Hardware Monitor Level: This slider independently controls the volume of your
processed guitar tone output for monitoring (the signal fed to the device’s main
outputs). It does not affect the level of the signal fed to your computer via the Record
Send. This allows you to balance your guitar’s monitor level against the playback audio
from your computer, such as when recording in DAW software.
If using POD HD500X as the audio interface for recording into a DAW application, then your
DAW may also offer its own “software monitoring” function. You may want to use the DAW’s
software monitoring in some scenarios, such as if you want to hear your guitar signal processed
with plug-ins on the DAW track. When utilizing DAW software monitoring, you’ll want to set this
slider’s level to minimum to allow you to hear only the DAW software monitoring signal.

9•5

USB Audio

Mac OS® X Audio MIDI Setup Utility
POD HD500X utilizes the Mac® Core Audio driver type, making it a compatible audio
interface for practically any Mac® audio/multimedia software. As with most Core
Audio devices, some settings are found in the Audio Devices page of the Mac® Audio
MIDI Setup dialog. Note that there are two screens of settings for this window: Input
and Output. You’ll see similar options in both these screens, but their settings pertain
to the selected device’s Input and Output drivers, respectively.

A
B
D
E

9•6

The Audio MIDI Setup utility, Input screen (Mac OS® X 10.6 and later*)

*Note: The Audio MIDI Setup utility window within Mac OS® X version 10.5 has a slightly different
layout, but offers the same options and functionality as described here.

USB Audio
A

Input - Output Screen Selector Use these buttons to view the respective options

Device List: Select your POD HD device in the list here to display its settings within

within this window.
the window.

Default Audio Device Options: With your POD HD device selected in the Device
List, click on the little gear button here to configure POD HD to be the default input
and/or output audio device for your Mac® applications.* When you select any of these
options, you’ll see the respective icon appear to the right of POD HD in the above
Device List to indicate it is set as the default device for this action.
C

*Note that most DAW applications (such as GarageBand, Logic, Ableton Live, etc.) allow you to
select their audio input/output device within their own Preferences, independently of the settings
you make here.

• Use this device for sound input: Select this option if you want your Mac®
applications to use POD HD as the default input device for audio recording.
• Use this device for sound output: Select this option if you want your Mac®
applications to use POD HD as the default output device, such as for iTunes® music
playback.
• Play alerts and sound effects through this device: This option sets all the
system dings and beep alerts play through the selected device. You probably do NOT
want to select this, unless you like hearing these Mac® alerts blaring at high volume
along with your POD HD guitar and audio playback for some reason!
D

Format: These options show you the Sample Rate* and Bit Depth at which POD

HD is operating for recording (when viewing the Input screen) and playback (when
viewing the Output screen). The Bit Depth for POD HD is fixed at 24 bit.

9•7

USB Audio
*It is recommended that you do not use the Sample Rate selectors in this window to set your
sample rate when your audio software is running. Typically, your audio software will offer a sample
rate option within its own “Preferences” settings, which is where you should change the rate.

Volume sliders: These sliders offer level adjustment for the selected device.

• When viewing the Audio Device - Input screen (as shown above) the sliders control
the level of the Record Send signal fed to your recording software. These sliders can
be used to fine tune your DAW software’s recording level. Note that these sliders
offer a max level of +18dB, which can apply a boost to your input signal if needed.
• When viewing the Audio Device - Output screen (as shown in the following
screenshot) the sliders control the stereo level for your software’s audio playback fed
to POD HD. These sliders can be used to independently adjust the USB playback
audio versus your guitar input signal.

9•8

The Audio MIDI Setup utility, Output screen (Mac OS® X 10.6 and later)

USB Audio

Windows® - Line 6 Audio-MIDI Devices
The following settings are the same for Windows® XP, Windows Vista® or Windows® 7, unless
otherwise noted.

Launch the Line 6 Audio-MIDI Devices from within the Windows® Control Panel. On
Windows® systems, POD HD500X offers both a DirectSound and ASIO® recording
driver for maximum compatibility with audio & multimedia software applications.
It is always recommended that you select the ASIO® audio driver within your audio
software, if supported, since this offers higher performance. When prompted for
ASIO® driver settings, this dialog is where you will make them.
2

4
5

9•9

7
8

The Line 6 Audio MIDI Devices - Driver tab (Windows® XP)

USB Audio

1 Device Selector - Select your POD HD500X here. If you have more than one
supported Line 6 audio device connected, each will be selectable in this list.
2 Driver Version - Displays the current device’s installed driver version number.
3 ESN - Displays the current device’s unique Electronic Serial Number.
4 Driver/Inputs & Recording Selector - Choose between displaying the two tabs of the
Driver Options window. (Also see “Inputs & Recording Page” on page 9•13.)
5 Driver Operation (Windows® XP only) - These options are only applicable for when
an application utilizes the POD HD500X device via the Windows® DirectSound®
driver. They will be non-selectable when in use via the ASIO® driver.
• Driver operating at: Displays the actual Sample Rate & Bit Depth the driver is
operating at when in use by an audio application. If not in use, “inactive” is displayed.
• Default Sample Rate & Bit Depth: Use this option to set the default sample rate &
bit depth that (non-ASIO®) applications will use when using POD HD500X as the
audio interface.
• Lock Driver Format: When checked, this forces the DirectSound® driver to always
operate at the Sample Rate and Bit Depth settings entered in the two fields above (as
opposed to following the sample rate requested by a Windows® audio application).

9•10

USB Audio

5 Driver Operation (Windows Vista® & Windows® 7)
On Windows® Vista & Windows® 7 you will see a Sound Control Panel button - click
this to launch the Windows® Sound panel. Within the Sound panel’s Playback and
Recording tabs you can designate POD HD500X as the “Default” audio device if you
want all your Windows® multimedia programs to utilize it as their sound card device.

POD HD500X selected as the Default Playback Device

You can also click on the Properties button in the Sound dialog to access the default
format settings for the POD HD500X Sample Rate and Bit Depth when used with
Windows® multimedia applications. (Note that if you are using an audio application
that is set to utilize the ASIO® driver for your Line 6 device, then ASIO® communicates
directly with the device, and these “default format” settings do not apply.)

9•11

USB Audio

The Window Vista/7 Control Panel>Sounds>Properties - Advanced tab

6 ASIO® Driver Settings
• ASIO® Client: If you are running audio software that is using POD HD500X as its
ASIO® audio device, the name of the software will appear here.
• Buffer Size: The ASIO® buffer size in use, which will affect the “responsiveness”
and “latency” of the DAW software. The lower the setting, the faster the response,
but with the trade-off of higher processor usage and the risk of audio dropouts. Raise
the value if you are getting inconsistent playback or recording in the audio software.
256 is generally a good setting to start with.
• Bit Depth: The ASIO® bit depth in use. It is recommended to use 24-bit here.

9•12

7 Sample Rate Converter Active - You’ll see this indicator light up whenever
the device is operating at a sample rate other than its native 48kHz rate. In addition
to 48kHz, POD HD500X supports 44.1kHz, 88.2kHz and 96kHz rates by utilizing an
internal sample rate converter.
8 USB Audio Streaming Buffer - This slider adjusts the buffer size for the audio
responsiveness of the Input Monitoring signal. Basically, the default setting should
be fine for most systems, but if getting audio dropouts or working with large CPU
demands on your system, raise the slider a notch or two to the right until it alleviates
the problem.

USB Audio

Inputs & Recording Page

The Line 6 Audio MIDI Devices - Inputs & Recording tab

9 Record Sends List: Displayed here are the Record Sends for the current Line 6
device that will be available to your audio software. For POD HD500X you’ll see the
one, stereo “1-2 Main Out” Record Send.
10 Hardware Monitor Level: This slider independently controls the volume of your
processed Source Input tone output for monitoring (the signal fed to the device’s main
outputs). It does not affect the level of the signal fed to your computer via the Record
Send. This allows you to balance your guitar’s monitor level against the playback audio
from your computer, such as when recording in DAW software.
Your DAW software may also offer its own “software monitoring” function. You may want to use
the DAW’s software monitoring in some scenarios, such as if you want to hear your guitar signal
processed with plug-ins on the DAW track. When utilizing DAW software monitoring, you’ll want
to set this Hardware Monitor slider to minimum to allow you to hear only the DAW software
monitoring signal.

11 Record Send Level: This slider independently controls the level of the POD signal
fed to your computer via the Record Send. This directly affects the signal level that is
recorded into your DAW tracks. Note that you can also check the +18dB checkbox
here if you need to boost the signal fed to your DAW.

9•13

Appendix A: Line 6 Monkey

Appendix A: Line 6 Monkey™
Line 6 Monkey™ is the free, intelligent updater software that can be
used to keep your POD® HD500X, as well as related Line 6 products,
up to date. Line 6 Monkey is installed automatically on your Mac® or
Windows® computer along with the POD HD500X USB device drivers.
If you have not yet installed the USB device drivers, you’ll need to do
so now to utilize POD HD500X with your computer - please see “USB
Audio” on page 9•1. It’s highly recommended to run Line 6 Monkey
periodically to check for and install the latest updates.
Attention Line 6 Variax® Owners: It is highly recommended that you also use Line 6 Monkey to
also get the latest updates for your Variax instrument! Please see “Line 6 Variax Updates” on
page A•3 for instructions.

Launch Line 6 Monkey

Connect POD HD500X to your computer’s USB 2.0 port and power On your device.
To launch Line 6 Monkey:
• On Mac®, go to /Applications/Line 6/Line 6 Monkey.
• On Windows®, go to Start menu\Programs\Line 6\Tools\Line 6 Monkey.

The following instructions are the same on Mac® or Windows®, unless otherwise
noted.

Login Account
You’ll need to Login so that Line 6 Monkey can communicate with Line 6 and provide
you with exactly what you need. It’s just a few clicks, and it’s free! If you have not yet
created an account, click the New User button and you’ll be walked right through the
steps.

A•1

Appendix A : Line 6 Monkey

Register Your Hardware
If you have not already done so, you’ll be prompted to Register your connected Line 6
hardware. It’s a painless process really, so click that Register button now.

Grab Those Updates
If you see any items where a newer version is available, then you should click on that
item and let the little Monkey fellow walk you through the installation steps.

A•2
Line 6 Monkey - Update screen for POD HD500X

As an example, the above screenshot shows Monkey has detected that a newer
Firmware - Flash Memory version is available than is currently installed in our device.
In this scenario you can select the Flash Memory item and click Update Selection.

Appendix A: Line 6 Monkey

Be sure to read the prompts carefully and Monkey will assist you in performing the
update in minutes. It is especially important not to disturb the devices’ controls and
cable connections until the update fully completes!

Line 6 Variax Updates

If you own any Line 6 Variax instrument, it is highly recommended that you check for
and install the latest available firmware update. This may be required for compatibility
with the newest POD HD500X firmware and POD® HD500X Edit and Variax®
Workbench™ software applications.
Simply plug your Variax into the VARIAX input on the back of POD HD500X and then
launch Line 6 Monkey. You’ll be prompted to select from among the connected devices.

Select your Variax instrument in the window and click OK to proceed. The Line 6
Monkey Updates window will then appear, showing all available updates for your
Variax. If a Flash Update is available, you should select it and click on Update Selected
to install the latest version.
If you haven’t already done so, be sure to download and install the latest Variax
Workbench software - you’ll see this listed within the Line 6 Monkey Updates window
as well!

A•3

Appendix B: MIDI

Appendix B: MIDI
This Appendix covers the MIDI features available for your POD® HD500X device. POD
HD500X will respond to incoming MIDI messages for remote access of its assignable
Footswitch & Pedal Controllers, and for loading Banks & Presets. POD HD500X also
outputs Bank & Program Change messages when navigating Set Lists and Presets.
POD HD500X additionally includes the ability to function as MIDI Controller device,
with its footswitches and Expression Pedals capable of sending customized MIDI
commands.
POD HD500X can be used to send MIDI CC messages to any Line 6 DT Series amplifier to
access many “hidden” parameters and create even more customized tones! Please see the DT
Series MIDI Implementation Guide, as well as other Line 6 MIDI documentation, available
at http://line6.com/support/manuals/.

MIDI Input & Out/Thru

The MIDI INPUT and MIDI OUT/THRU DIN ports are the connections to use for all MIDI
communication. (POD HD500X does not include USB MIDI functionality.) To send MIDI
communication to another device, connect a standard 5-Pin MIDI cable from the MIDI
OUT/THRU to the MIDI Input of your external device. To receive MIDI communication,
connect a MIDI cable from the POD HD500X MIDI IN to the device MIDI Out.
INPUT

MIDI

OUT/THRU

The POD HD500X MIDI INPUT & OUT/THRU DIN connectors

POD HD500X MIDI Setup options
To set the MIDI Channel for sending & receiving MIDI messages, use the POD HD500X
SETUP:MIDI/Tempo - MIDI Channel option. It is also possible to receive MIDI data
on this MIDI Channel and to pass it “thru” the POD HD500X MIDI OUT/THRU to other
MIDI devices. To do so, be sure to set the MIDI Out/Thru option on this same Setup
page to “Thru.” See “Page 6, MIDI/Tempo Options” on page B•1.

B•1

Appendix B: MIDI

Controlling POD HD500X Functions via MIDI
POD HD500X Footswitch & Pedal assignments, Looper functions and more can be
can controlled remotely via a MIDI Controller device connected to the POD HD500X
MIDI IN port. The following reference table shows the necessary MIDI CC settings to
configure your MIDI Controller device to access these POD functions.
POD HD500X - MIDI Control Reference
MIDI CC #

Value

Function

Pedal & Footswitch Assignments
001

0 - 127

EXP-1 Pedal Assignment

002

0 - 127

EXP-2 Pedal Assignment

051

0 - 127

Toggles FS1 Assignment On/Off

052

0 - 127

Toggles FS2 Assignment On/Off

053

0 - 127

Toggles FS3 Assignment On/Off

054

0 - 127

Toggles FS4 Assignment On/Off

055

0 - 127

Toggles FS5 Assignment On/Off

056

0 - 127

Toggles FS6 Assignment On/Off

057

0 - 127

Toggles FS7 Assignment On/Off

058

0 - 127

Toggles FS8 Assignment On/Off

059

0 - 127

Toggles EXP Toe Switch Assignment
On/Off

Looper Controls

B•2

060

0-63 = Overdub, 64-127 = Record

Looper Record/Overdub Switch

061

0-63 = Stop, 64-127 = Play

Looper Play/Stop Switch

Appendix B: MIDI

POD HD500X - MIDI Control Reference
MIDI CC #

Value

Function

062

64-127 = Play Once

Looper Play Once Switch

063

64-127 = Undo

Looper Undo Switch

065

0-63 = Forward 64-127 = Reverse

Looper Forward/Reverse Switch

067

0-63 = Pre 64-127 = Post

Looper Pre/Post Position Switch

068

0-63 = Full 64-127 = Half

Looper Full/Half Speed Switch

099

0-63 = Off 64-127 = On

Looper Mode On/Off

Additional Controls
064

64-127 = Tap

Tap Tempo - Enter Tap Tempo

069

0-63 = Off 64-127 = On

Tuner Mode On/Off

Bank & Program Change Messages

POD HD500X will respond to incoming MIDI Bank & Program Change messages as
follows.
• Load Set List: From your MIDI controller device, send a Bank Change CC0
(Bank MSB), CC32 (LSB) message with a value of 0 (for Setlist 1), 1 (for Setlist 2),
etc., followed by a Program Change message (Value 0-63 for Preset 01A - 16D) for
the desired Preset within the Set List. The Set List and Preset are loaded on POD
HD500X.
• Load a Preset within the current Set List: Send a Program Change message
(Value 0-63 for Preset 01A - 16D) for the desired Preset within the current Set List.

When using the POD HD500X hardware options for navigating Presets (the PRESETS
knob, 4-Way Nav. Disc, and footswitches A, B, C, D*) the device will automatically transmit
MIDI a Program Change message corresponding to the selected Preset. These
messages are transmitted to the MIDI OUT/THRU DIN. It is also possible to configure
Footswitches to send Bank and Program Change messages - see the next section.

B•3

Appendix B: MIDI
*Note that you’ll need to set your “Footswitch Mode” Setup option to “ABCD” for this specific
Preset data to be sent when pressing the FS5 - FS8 footswitches to change the Preset on POD
HD500X see “POD HD500X MIDI Setup options” on page B•1.

This feature allows you to use POD HD500X to control external devices by sending the
following MIDI Bank & Program Change commands. Also note that if you connect to
another Line 6 POD HD500X or POD HD Pro X, the connected device will respond to
the Setlist & Preset loading behavior of the initial POD HD500X!
The following describes the automatic MIDI messages sent when these POD HD500X
controls are accessed when using specific gestures.

SAVE
P R E S E TS

HOLD FOR SYSTEM & I/O

VIEW

PRESETS Knob
ENTER Button
4-Way Nav. Disc
Arrow Buttons

ENTER

AMP & FX ON / OFF

DBL PRESS TO ASSIGN CTL

MOVE

POD HD500X Controls that transmit Bank & Program Changes

• Turning the PRESETS Knob: Internally on POD HD500X, turning clockwise
and counter-clockwise increments & decrements through Presets in the current Set
List. These actions also send the following MIDI messages:
• Clockwise turn: Transmits a Program Change - Increment message.
• Counter - clockwise turn: Transmits a Program Change - Decrement
message.
• Press Footswitches A, B, C & D: Internally this selects the respective Preset
within the current Bank. These switches also transmit MIDI Program Change Fixed messages, with Values from 0 to 64. The specific value is determined by the
current Bank (e.g. - for Bank 1 these four footswitches send Values 0 - 3, for Bank 2
they send Values 4 - 7, etc.)

B•4

• Press PRESETS Knob > Press Nav. Disc Arrow Button > Press Enter
Button: Internally, this sequence calls up the Set Lists screen, selects a Set List (1 8) and loads the Set List. This sequence also transmits a MIDI Bank Change - Fixed
message, with a Value of 0 through 7, respectively, when selecting Set List 1 - 8.

Appendix B: MIDI

Using POD HD500X as a MIDI Controller Device

You can configure any number of your POD HD500X Presets to include customized
MIDI Control assignments for most footswitches and Pedal controls. This allows you
to use POD HD500X to remotely control other hardware or software, such as Line 6
M13, M9, POD® Farm 2 Plug-In, another POD HD500X or HD Pro device, or any other
Line 6 or 3rd party products that respond to external MIDI control!
Note that footswitches FS5 - FS8 will only transmit your configured MIDI assignments when
their Setup option is set to the FS5 - FS8 “Pedalboard Mode” - see “POD HD500X MIDI
Setup options” on page B•1. Also, when POD HD Pro is actively in Looper Mode, fixed MIDI
CCs are transmitted from some footswitches - see “Looper Mode Footswitch Behaviors”
on page B•8.

The MIDI ASSIGN Screen
The MIDI ASSIGN screen is where you configure custom MIDI commands. To access
the MIDI ASSIGN screen, start on the Home View page and press and hold the MOVE
button. All settings in this screen are saved per Preset.

ENTER

AMP & FX ON / OFF

DBL PRESS TO ASSIGN CTL

MOVE

Press and hold the MOVE button to display the MIDI ASSIGN screen

Use the
and Nav. Disc buttons to select the desired footswitch or Exp Pedal
control. The selected control is indicated by the down arrow (such as FS2 in the above
screen). Once selected, the control’s MIDI options can be edited using the Multifunction Knobs 1-4. Each respective control in the screen indicates if it has an active
MIDI assignment:

B•5

Appendix B: MIDI

FS1 with MIDI Assignment

FS1 with no MIDI Assignment

• MIDI Channel (Knob 1): Select the MIDI Channel on which the selected control
will transmit its MIDI command.
• None: Send no MIDI data. (Note that you won’t see Knob 2 - 4 options appear
until you select an option other than “None.”)
• 01 - 16: Choose the MIDI Channel on which to transmit the selected control’s
messages.
• Base: Sets the control to follow the current “system” MIDI Channel, as set
in the device Setup (see “POD HD500X MIDI Setup options” on page B•1).
This is a handy feature to have any Presets’ MIDI Controls set to “Base” to
dynamically follow the common Setup -MIDI Channel value.
• Message Type (Knob 2): Select the type of MIDI message sent by the selected
control.
• FS1 - FS8, LOOPER, TAP and EXP TOE SWITCH footswitches can each be assigned
to send MIDI CC, CC Toggle, Program Change (fixed), Bank Change (fixed) or
Note On messages.
• The EXP1 and EXP2 pedal controls can be assigned to each send one MIDI CC
with a definable Value Range, which allows you to sweep a variable parameter
on your target device.
• CC/Program/Bank # (Knob 3): Selects further options, depending on the
Message Type selected (Knob 2).

B•6

• CC #: When the Message Type is “CC” or “CC Toggle,” this allows the choice
of any MIDI CC number from 000 to 127. If editing EXP1 or EXP2 controls, this
knob sets the Minimum CC value for the pedal. (Also see the Knob 4 Value
description.)
• Program #: When the Message Type is “Program Change,” this allows the
choice of a fixed Program Value of 000 to 127.

Appendix B: MIDI

• Bank #: When the Message Type is “Bank Change,” this allows the choice of
fixed Bank Value of 000 to 127. Note that an additional Program Change #001
message is automatically sent as well, which typically results in selecting the
first patch within the selected Bank on your receiving device.
• Note: When the Message Type is “Note On,” this allows the choice of the
specific musical note value (C0 to G9)
• Value/Velocity (Knob 4): Selects further options, depending on the Knob 2 and
Knob 3 settings.
• Value (CC): When the Message Type is “CC,” this sets the value for the CC that
is sent on every press of the switch control (000 - 127). When editing the EXP1
or EXP2 controls, this sets the Maximum Value for the pedal.
• Value (CC Toggle):When the Message Type is “CC Toggle,” you can select 000
or 127 to choose an “On” or “Off.” The control sends alternating messages per
click - Perfect got “MIDI Mute” messages!
• Note that no Knob 4 option is displayed if the Message Type is “Program
Change” or “Bank Change.”
• Velocity: Sets the Velocity value for the Note message (000 - 127).

B•7

Appendix B: MIDI

Looper Mode Footswitch Behaviors
When POD HD500X is actively in Looper Mode, the Looper function footswitches
automatically transmit the following MIDI CC messages. These are global MIDI CC
assignments and cannot be edited.
Note: These assignments are specifically the MIDI CC messages that POD HD500X and POD
HD Pro devices respond to for these Looper Mode functions. Therefore, if you are sending MIDI
Out from your POD HD500X to the MIDI In of another POD HD500X or POD HD Pro device, its
Looper functions can be switched simultaneously!

Looper Mode Footswitches - MIDI CC Transmit Reference
Footswitch

B•8

MIDI CC #

Value

FS1 (Undo)

063

127

FS2 (Play Once)

062

127

FS3 (Pre/Post)

067

Toggle: Pre = 0-63, Post = 64-127

FS5 (Rec/Overdub)

060

Toggle: Overdub = 0-63, Record = 64-127

FS6 (Play/Stop)

061

Toggle: Stop= 0-63, Play = 64-127

FS7 (1/2 Speed)

068

Toggle: Full = 0-63, Half = 64-127

FS8 (Reverse)

065

Toggle: Forward = 0-63, Reverse = 64-127

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