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By Alan Verdi
Line 6 has added a nifty newcomer to its POD series. Thehas the simplicity of a floor pedal and the tonal excellence of Line 6’s latest bass amp and effects modeling. It is designed both for use onstage in front of your amp and as a studio tone tool for direct recording. It gives you the latest technology and proven quality of Line 6 modelers, all for a price that puts it in range for anyone on a serious search for bass tone.
There are two ways to think about the XT Live, or as Line 6’s acclaimed LowDown Bass Amplifier in a pedal format. Actually it is both. It has the POD look and layout. Its controls reconfigure to match each amp model. It has the Bass POD’s Opto Compressor, and a built-in expression pedal like the Bass PODXT Live. Its amp models, controls, and effects are the same setup used in the acclaimed Line 6 LowDown bass amplifiers.: as a simplified POD
Like every Line 6 POD, Bass Floor POD is enormously flexible. You can use it with headphones for silent practice with monster tone. A CD/MP3 input lets you jam with your favorite bands and recordings. Use Bass Floor POD in front of your amp as the ultimate effects box. Go direct from the POD to recording gear for bass tracks with the perfect tone to suit any style of music. Or you can go direct into a PA system for great live tone.
With simple dials for preset tone selection, mode, effects on/off, deep switch on/off, and tuner functions, theis incredibly easy to operate. It also has SmartFX control. You just turn one dial to choose and set the level of three essential effects: an envelope filter, an octaver (sub generator), and truly lush chorus. When you call up a preset, you alter it simply by adjusting the onboard controls, and save it in its altered form with a couple of button pushes.
The beauty of modeling is that it gives you instant access to the sounds of many great amplifiers, and the set found in theis a bass amplifier Hall of Fame in a box. The Clean model is based on* the renowned Eden Traveler, a favorite with both fusion and funk players. The R&B model is based on* the 1968 Ampeg B-15 Flip-Top, a studio classic that puts you in the tonal territory of James Jamerson and his Motown grooves. The Rock amp is modeled after* the ’74 Ampeg SVT on top of an 8x10 cab, one of the most popular concert rigs of all time and one of the heaviest. With , you get the sound without having to move hundreds of pounds of gear.
The Brit model is based on* the sound of the ’68 Marshall Super-Bass. If you want hard-hitting, massive rock tone, there’s no better amp. It’s been the choice of bands from Cream and The Who, to Yes and Rush, and is still the backline amp-of-choice for many of today’s bands. The last bass amp model is a modern rock setup based on* a distorted SansAmp PSA-1 preamp fed to an Ampeg SVT with some clean signal mixed in. If you’re looking for angry, aggressive, hard-edged bass tone, the kind you hear from Alice in Chains or Rage Against the Machine, the Grind setting is the place to start.
The sixth model is a full-blown synth bass. This one is a trip, and the unit would be worth its price if this were the only model it contained. As with all the models, the controls change to adapt to the needs of the sound, and here those changes are radical. The tone knobs do things like add resonance, change the filter frequency, or vary envelope depth. The Opto Compressor becomes a wave-form selector. Messing with these controls changes your sound in incredible ways. You could spend days exploring the possibilities.
With these five models, bass synth, and three effects, plus a wah pedal for funkiness, you have a palette of tones that cover it all from big and ugly to sweet and beautiful. It’s an ideal setup for experienced players working in bands that cover varied styles. It’s also perfect for new players looking to experiment with different bass genres. Any bass player who is into using tone creatively will find thetruly inspiring.
*All product names used in this ad 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. Ampeg is a registered trademark of St. Louis Music, Inc. Marshall is a registered trademark of Marshall Amplification Plc.