B. Amps

Separate the pre-amp and power amp components of the amplifiers into separate blocks. This would allow mixing pre-amps with other amps power amps, as well as being able to place effects between pre-amp and power amp (otherwise known as an effects loop).

Add some of the following high-gain amp models: Peavey 5150, Peavey 5150II, Mesa/Boogie Mark IIC+, Mesa/Boogie Mark IV, Diezel VH4, Diezel Herbert, Soldano SLO-100 (available on 300/400 as of 7/18), Randall Warhead, Bogner Ecstacy, Krank Revolution, Carvin Legacy. The least you could do is port the XT/X3's "Mississippi Criminal" or "Big Bottom" models.

Level the amp models, so they have roughly the same output volume at default values.

Lower the default Master Volume DEP settings for cleaner amps that tend to exhibit crossover distortion. For instance the Blackface Dbl is defaulted to 100%, when it offers no tonal benefit to do so (unless you like crossover distortion). Especially change the Elektrik's MV off of 100% - it sounds like garbage at that setting.

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C. Utilities

Include a clip meter for anytime the signal exceeds the max resolution in the chain or at the input, preferably indicating exactly where in the chain the clipping is occurring.

Include DSP management tools. Have a DSP meter display how much DSP is currently being used. When selecting a new effect, rather than put it right into the chain causing the DSP error message and blanking out the effect block, display how much more DSP it would take up before you actually add it to the chain.

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D. Routing

The routing is a bit confusing. There should be better care to document how it actually works. Additionally, it would be nice to display how the signal lines are actually stereo signals and are mixed down for mono effects. Or otherwise, indicate in either Edit or the onboard editor whether an effect is mono or stereo.

The mixer, the end of the signal chain, or even a separate effect should be able to set a very precise, short, and variable delay (0.00 - 5.00 ms)to each side of the signal. This would be useful to achieve phase correction and avoid comb filtering, due to delays introduced into the signals by using different signal chains. Or even add the delay into the biggest offenders, effect-wise. I imagine this would be the most DSP intensive effects, or the ones that require the largest discrete time samples.

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E. EQ's

Have a dual Parametric EQ without the "lows" or "highs".

Include the EQ from the XT/X3 - two shelves, and two peak/valleys, all with adjustable gain and frequencies. If 8 parameters is not possible, do two shelves and one peak/valley.

Include a Mesa Mark graphic EQ: 80, 240, 750, 2200, 5500 HZ.

Include a notch EQ: 3 sets of frequency and gain to dial out narrow ugly spots in the frequency spectrum.

Always display frequency in HZ, not %. Similarly, display gain in db, not %.

Include a global EQ (possibly as mentioned in the Output Modes section above). Include a Fletcher Munson switch/dial to compensate for the varying frequency sensitivity the human ear has as different volumes.

Include a view in Edit and possibly in the Pod itself to sum the various EQ effects and display the resulting EQ curve dialed in, similar to how it was done in Gearbox.

Increase the headroom in the Parametric EQ (and Graphic and Mid-Focus EQ's), so it doesn't clip on hot input. Its headroom should be as high as the Pod's digital resolution.

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