35. Apr 10, 2012 2:49 AM (in response to Neal Van) 

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No matter how I try , the DT25 sounds so much better without the HD 500 - please help Line 6!
created by scotty_burford in Line 6 Dream Rig - View the full discussion 

I have read any and every article and post I can find on getting these two working together. I have similar questions before. The DT-25 sounds fantastic by itself but when I choose to incorporate the POD HD500 via Line6 link it get very noisy and the articial overtones really become obvious.

Right now I have set up a patch on Channel B that sounds fantastic with my G&L Tele. Choosing the same pre in the POD ( I believe it is the Blackface Dbl Vib pre)  and setting it exactly the same as Channel B produces something similar but with a lot of awful overtones that suddenly take it back to sounding like it is coming out of POD Farm or the like. For want of a better term, the digital brittleness is very evident when the OD pre is employed. And a lot of noise suddenly appears in the signal as well.

I am using a quality DMX cable and leads, various guitars with both single-coil and humbucking pickups...all the same results.

I really appreciate the input from those who volunteer their time to answer such questions, but would someone from Line 6 please answer this for me. I need to know how to get these two working together as it is claimed they can. I have had much better results using the BOSS GT-8 into the DT-25 than with anything I have achieved with the POD HD 500. I would even be happy to pay a Line 6 demonstrator for their time so they can show me to achieve the seamless results that are promised between the two units.

Thanks for your time

Hi Scotty - I read you [post and understand exactly what you are describing.  I think I might know where your problem lies, but before I go typing a bunch of things to check or configure...how about you try two simple things for me first and post your results and we can go from there?

1. Hook your HD500 up with your very proper DMX cable via the L6 Link.
2. Pull up either a very simple filled in patch, or start with a blank one on the HD500.
3. Based on your settings on Channel 2 of your DT25....First...Find the amp from the POD HD500 list of amps which one is most likely or exactly like the settings you have on channel 2.  At this point, let's go with a pre version instead of full to keep it very simple to start.
4. Then I want you to use the knobs on the DT25 to dial them to the exact settings you have on channel two.  Do not use the knobs on the HD500 at all yet please.
5. Did you have to change any of the topology modes or pentode/triode...Class A or Class A/B switches when you picked the amp from the POD HD list?  If yes, then go back and try a different model amp.  If no, then please continue.
6. When you changed the dials on your DT25, did you notice the LED screen change the amps settings as you turned the knobs on channel 1?  If yes, then continue.  If no, then stop and go no further.
7. Post what happened or didn't happen here.
8. If yes and you are continuing because all is working as expected, please then save your setting on the POD HD500.
9. Open POD HD 500 EDIT
10. Go to the amp page and see if all the settings shown on that screen patch your settings on the DT25.  If yes, then proceed.  If no, then stop and go no further.  Post what did or didn't happen here.
11. If you did not have to stop of any of the reason I've given.  Please play the guitar and listen to the sound patch you've just created.  If it sounds exactly like channel 2 with the HD500 running channel 1, please continue.  If not - then stop here and post what you heard as best you can.



Now that is one way - here is the other... 

1. Working directly from the HD500 - simply make a blank patch with no amp and nothing at all in any of the FX blocks.
2. In the signal path view screen on the HD500, bring the arrow over to the top of bottom of the dark square which represent "no amp" and double tap the edit button to display the amp control screen.
3. This should show you Channel A as a set of two rows.  Exactly the same knobs as on the DT25 across the top row and one volume knob in the second row which is the channel 2 volume when the amp is bypassed.  Yep - even if there is "no amp" at all to begin with it considers you to be using channel 1 unless otherwise specified.
4. Using this menu - dial in the same settings you have for the DT25 channel 2 you liked so much without the HD500.
5. Then make certain you have the same topology as you have on channel 2, same preamp, same output.
6. Please play your guitar through the HD500 and if it sounds the same, you've discovered one of two ways to create patches you are happy with and sound the way you want.
7. If it doesn't sound the same...Plug your guitar directly into the 1/4" jack with the HD500 still connected and manually switch to channel2 and see if your sound is still there on channel 2.  if yes, then you have a problem with your HD500.  If your dialed in channel 2 sound is not there in this configuration, then you have a more complex problem then I could possibly diagnose.  But at least you've done everything in your power to see where the problem (if any) is coming from. 

If you still do have problems, I'd suggest a return to place of purchase, or perhaps ask for a repair ticket directly from Line 6. with your test results included to either place. 

Also - if it's not too much trouble, please post here what your testing results were so I and everyone else reading this can learn a bit more about all this gear and how it works together.

Best of luck and take care,
Neal

A tutorial I posted in response to someone asking how to control the four topologies with a POD HD500 via the L6 Link connection.

I suggest the following to get the results you are looking for...

1. L6 Link to the DT25 from the POD HD500
2. Call up a Blank bank of patches.  Since they are grouped in sets of four, this should work out perfectly for your desired results.
3. Starting with bank # ?? on patch A…How about Bank 1 – patches A thru D?  Good as any if you don’t have any preference?
4. You should see nothing but dots across the signal chain plus one larger black box (where an amp would be), and the Mixer.  Perhaps even the looper depending how you chose your display set up.
5. Put the arrow over the larger black box, and then double tap quickly the Enter button tab on your HD500 unit.
6. For topology 1, choose any Fender full model amp, not just the pre version.
7. Once chosen, Click view to return back.
8. With the new amp still with the arrow over it - double tap quickly the Enter tab.
9. Now you should see two rows of controls.  Both rows with the exact dials as on the DT25 amp.
10. You will be now controlling only Channel 1 which is the only channel you will gain control over the 4 topologies.
11. Adjust the setting on the top row only for now.  This will produce the Topology 1 sound you want.
12. Be sure to save to settings by using the save tab on the unit.
13. Once accomplished, then go to Patch B and repeat steps 5 through 12.  Except this time, choose any of the Marshall (Brit) full amps to create Topology II.  This probably has the widest variety of difference between just the Marshall amps.  Choose the JTM-45 if you want less input gain or J-800 if you want the most gain from the Marshall amps modeled.  Or my personal favorite, the Plexi Lead 100 Brt, for a terrific middle ground between input gain and classic British tonality.  you can always put an overdrive or even a full distortion pedal in your signal chain once you've gotten the topologies you wish to have control over.
14. Using Patch C for topology III repeat steps 5 - 12 except choose the Bogner (Bomber Uber) Full amp.
15. Using Patch D for topology IV repeat steps 5-12 except choose the Engl (Angel F-Ball) Full amp.

  Lastly - you need to do the following to get the utmost from the DT25 amp you have...   

• After tweaking and dialing in the sound you want to come from all four topologies on channel A of the DT25 amp, you then must set Channel B to what you want all the time from that channel.  You can go to a screaming lead sound with tons of gain or to a crystal clean sound with little or no overdriven sound at all.  This is your amp, your sounds. 
• With this set up - you actually have five amps. 
• Two will have the same topology, but you will be making these channel B choices physically on the DT25 amp itself.  Once you set them, they must not get moved or it will change the sound from that channel.  Just double check that channels settings before you begin to play and you'll always have the five amps you've chosen to use.

  To access Channel B you must do the following for all four of your A-D Amp patches.   

1. Highlight the amp one each of your A, B, C, & D patches - one at a time of course.
2. HOLD DOWN the ENTER Tab, and now you will see an "FS#" or perhaps "None"
3. Assign this to FS8 which is the last Footswitch button next to the Pedal.  This is the FS # I always use, your choice is your choice, but I've found that keeping it the same, is much less confusing in a live performance situation trying to remember where the control for something is.  As you add FX, this will become easy to understand why.  My choice is my choice, but you can use any of the footswitches, or even you can use the Toe Switch on the pedal.  I don't do this because I use that pedal for controlling volume most of the time , but these are choices for you to make.  The right choices are the ones you feel comfortable with, not anyone else's choices.
4. Now that you have assign a FS to the amp, you now need to see what happens when you turn it off.

• The amp model shuts off - only the amp - and now you have a volume knob alone which setting can be saved with your patches.  This volume knob controls the volume only of channel B on the DT25.
• Any other FX or pieces you've added to your signal chain will now be heard through that Channel B, unless you choose to assign that same FS switch to turn off or turn on any of the FX in your signal chain that you want to work with DT25 Amp channel B at the exact moment to switch to channel B on the DT25.
• You need to do this for each patch A thru D you create and keep in mind that whatever you choose for channel B, you can always have FX in front of the amp, or behind the amp using nothing more than the L6 Link to its fullest extent.
• For example, you can set up channel B to be very clean.  You then could on one or more patches, have an overdrive or distortion pedal on immediately, or switch on when you want it.  This goes for any effect in your signal chain you allow to work with Channel B.
• It's so flexible, I could write a book that would take up far too much more time than I have to give about al the choices you have in front of you with just these two pieces of Line 6 gear.
• You also could do all these things with the POD HD500 Edit software instead of on the HD500 unit itself and then save it to a Bundle or Set List that you can store and recall anytime you have the unit connected to your computer.  You could start building your own library of patches.

  I hope this small instruction guide helps you discover what your gear is capable of doing.   

Take care and best of luck,
Neal

PS - if you like this guide and it does help you get what you're looking for. I'd appreciate it if you posted how this worked for you.  I can't learn more unless others write back and let me know how my suggestions or instructions worked for them.  Thanks.

Addendum:

I only made the choices I suggested based on the ease of use working with those amps getting a wide variety of tonal options.

I do agree that the Vox 30TB or the Vox 15 are also terrific choices for Topology III if you want less input gain choices and stick within that British invasion scope of sounds.

I am not suggesting that my amp choices for each topology are the only ones.  There are many that use Mode I, and Mode III.  Marshalls pretty much cover Mode II but are not the only choice in this mode.  And Mode IV seems to be only used by the ENGL Fireball model.  I think if Line 6 had more than just the Dual Rect Mesa verson, you would probably see mode IV with other Mesa models.

Okay - here is a complete list of what modes switch when using the default amp models...

Mode I

• Fender (all models except the Tweed Bassman)
• HiWatt (this is surprising to me, but it's what it is.)  I always thought HiWatt was more similar to a Marshall.
• PhD Motorway

  Mode II  

• Supro - Pentode/Class A Output
• Marshall (all models)
• Fender Tweed B-Man (The original Marshall amp. True origin of the Marshall JTM-45 included at the bottom of this post.)
• Ampeg Flip Top Bass amp

  Mode III  

• Vox 15 - Pentode/Class A Output
• Vox 30TB - Pentode/Class A Output
• Gibson 185 - Pentode/Class A Output
• Divided 9/15
• Bogner
• Mesa Dual Rec
• Line 6 Elektrik

  Mode IV  

• Engl Fireball

This is the complete list of every model amp on the latest upgrade 2.02 for the POD HD units.  All topologies listed are the ones that come up before any user adjustments or changes.  All amps are Pentode-Class A/B unless listed otherwise.

I hope this clears up any possible confusion to my amp suggestion in my tutorial.  The amp choices are 100% at the users discretion.

Marshall History - the original JTM-45.... (artical taken from Wikipedia)

Jim Marshall thought he could produce a cheaper alternative to American-made guitar amplifiers, but he had limited experience as an electrical engineer. He enlisted the help of his shop repairman Ken Bran and an EMI technician named Dudley Craven, and between them they decided they most liked the sound of the 4x10" Fender Bassman. They made several prototypes using the Fender Bassman amp as a model. The sixth prototype produced, in Jim's words, the "Marshall Sound".^[3]

The first few production units almost copied the Bassman circuit, with American military surplus 5881 power valves, a relative of the 6L6. Speakers were then rarely able to handle more than 15 watts, which meant that an amplifier approaching 50 watts had to use four speakers. For their Bassman, Fender used four Jensen speakers in the same cabinet as the amplifier, but Marshall chose to separate the amplifier from the speakers, and placed four 12-inch Celestion speakers in a separate closed-back cabinet instead of the four 10-inch Jensens in an open-back combo. Other crucial differences were the use of higher-gain ECC83 valves throughout the preamp, and the introduction of a capacitor/resistor filter after the volume control. These circuit changes gave the amp more gain so that it broke into overdrive sooner on the volume control than the Bassman, and boosted the treble frequencies. This new amplifier, tentatively called the "Mark II", was eventually named the "JTM 45," after Jim and his son Terry Marshall and the max. wattage of the amplifier. Note: the actual wattage of the JTM-45 is 30 watts.^[4]