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When you create a YGG account When you create an account on a YGG website or mobile app, we ask you to provide Personal Information, including your name and email address. Amp Tone Controls for Drive, Bass, Mid, Treble, Presence and Chan Vol are accessible at any time from six large dedicated chrome knobs situated over the top bank of footswitches. Although these knobs are extremely touch-sensitive and can be triggered by accident if you're working with other knobs close by, it's not too difficult to get back on track. All these steps are really just the teaser, however, for the tweaking that can ensue at this point.
Whereas the original Pod requires users to interface with a computer to edit, the PodXT Live has everything onboard to keep you twiddling for days once you move on to and master the deep edit menu. Below and to the left of the LCD are the Save and Edit buttons, with four soft switches directly below the display. Press them once, and the effect goes on and off, as with the footswitches.
Double-tap them, and you move into edit mode for that menu item. Once in edit mode, I found an extremely high degree of detail available. On the Delay page, for example, you can not only select the model of delay such as tube echo, analog delay, digital delay but also tweak its time quarter note, half-note triplet and so on , feedback level and mix level.
The A. Once you get a channel the way you like it, you can save it either by overwriting the original factory patch or doing a save-as in one of the 64 available user preset slots.
A multitude of sound-sculpting options are available in the PodXT Live, from rip-roaring faux-tube-driven distortion to gate-happy rhythmic grooves, trippy flange and chorus combinations, alien voices, mud, freaky futuristic sounds and retro-feel dirt. With grit and distortion being highly desirable qualities for many recordists these days, this pedal delivers it authentically. It brought a deliciously nasty edge to many of the patches in my XV, providing a huge range of fresh creative options for many of my favorite sounds as well as unexpected new takes on many others that I hadn't previously found interesting.
It's amazing what a new tactile-based tool can do to make you take a second look at some old sounds. I was also able to attack the mic with confidence, quickly dialing up crazy effects that allowed me to turn my mediocre singing voice into a scary creature or, even more useful, play it like a guitar or a semivocoder.
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