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The Sound Is Different When I Record Via Usb

hd500 pod record usb

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#21 vilo1968

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Posted 09 December 2013 - 09:55 AM

Lower "Input Z" setting is the solution for FIZZ.

 

 

It seems to me that the issue is the difference between a track recorded with

1-guitar > audio interface other than POD >Pod input reamplified >recorded using POD USB    verses

2-Guitar>....................>Pod Input                   >Recorded using USB

 

This to me indicates that in case/track 1: Using an audio interface to record a direct signal then sending it to the pod isn't sending an identical signal as in track 2. Using the other audio interface is exposing the file to an additional AD/DA conversion which will almost always result in losing a little bit of high frequency. When Re amplifiying this track less fizz will appear due to the high frequency loss from the additional AD/DA conversion.

 

Solution:  there are several options to mitigate undesirable fizz.  My favorite is using the POD HD own input Z option. Using lower values instead of auto will do the trick looking at the patches in this thread we see that, as it should be , the noise gate is first in the signal chain which is optimal for most situations, but this creates a problem for the input Z set to "Auto". The input Z setting of auto is following the first effect in the signal chain which is the noise gate so no change is happening as the noise gate has the same input-Z setting for amp without effects.  I would use the input Z setting for the tube screamer which is 250K and this will reduce so much of the undesirable high frequencies responsible for most undesirable fizz (There's desirable fizz also and we want to keep that). You can use other values to get the optimal sound and the Input Z setting will make a night and day  difference from my experience in many patches where using auto will render the patch otherwise unusable.

 

Another option would be to put an external physical compressor in front of the pod and that will remove some high frequencies from the guitar signal...

 

DeanDinosaur thanks for your answer. A true Tube Screamer could serve instead of a compressor?


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#22 DeanDinosaur

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Posted 09 December 2013 - 10:49 AM

DeanDinosaur thanks for your answer. A true Tube Screamer could serve instead of a compressor?

I't s my pleasure. I think anything analog will shave some of the highs and would work. The real world tube screamer will also load your pickups and reduce highs.


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#23 DeanDinosaur

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Posted 09 December 2013 - 10:56 AM

 ...But you know what, sound is not fizzy if i play live with speakers ( even with 1M input Z), it is fizzy only when i record.

That makes a lot of sense specially if the speakers are guitar speakers.  Most guitar speakers start rolling highs starting at 5hkz and above!


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#24 MaxZavtur

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Posted 09 December 2013 - 11:33 AM

That makes a lot of sense specially if the speakers are guitar speakers.  Most guitar speakers start rolling highs starting at 5hkz and above!

I have ussuall speakers for PC, nothing fancy. So i wonder when i adjust my preset and i really like the sound, and then i record it and its sounds like sh*t((


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#25 DeanDinosaur

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Posted 09 December 2013 - 12:31 PM

I have ussuall speakers for PC, nothing fancy. So i wonder when i adjust my preset and i really like the sound, and then i record it and its sounds like sh*t((

A good investment would be Studio Speakers. For direct recording all modeler are intended to be used with Full Range Flat Response (FRFR).

 

Most stereos and speaker system color the sound by boosting bass or highs to improve the sound. When you use such systems you might be able to get away if you replay on the same system but when you play it on other systems it doesn't translate well. For recording Yamaha HS50M at $ 300 for pair are probably the most neutral speakers anywhere from my experience and many others. If it sounds good on them it usually translates very well on most other system.


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#26 MaxZavtur

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Posted 09 December 2013 - 11:09 PM

A good investment would be Studio Speakers. For direct recording all modeler are intended to be used with Full Range Flat Response (FRFR).

 

Most stereos and speaker system color the sound by boosting bass or highs to improve the sound. When you use such systems you might be able to get away if you replay on the same system but when you play it on other systems it doesn't translate well. For recording Yamaha HS50M at $ 300 for pair are probably the most neutral speakers anywhere from my experience and many others. If it sounds good on them it usually translates very well on most other system.

I had changed my DAW from Reaper to Cubase 5. You know, there is huge differents in recording quality, I dont know why. Even without changing Inpu-Z


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#27 DeanDinosaur

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Posted 10 December 2013 - 03:49 AM

Make sure the project options in Cubase is set to something higher than 16 bit, preferably 32bit float.


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#28 MaxZavtur

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Posted 12 December 2013 - 11:59 AM

Make sure the project options in Cubase is set to something higher than 16 bit, preferably 32bit float.

Pod hd 500 cant handle only 24 bit


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#29 DeanDinosaur

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Posted 12 December 2013 - 12:33 PM

Pod hd 500 cant handle only 24 bit

Cubase has a file system of 32 float that works with 24 bit sound cards, so you definitely can use the 32 bit float for better results. This comes very handy after the file is recorded. The major advantage is that  32bit file can' be clipped by editing.


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#30 gckelloch

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Posted 13 December 2013 - 12:01 AM

Sheesh...where do I begin? ;)

 

Changing the input-Z will not make the tone from each output sound different. The "auto" setting will configure the Z for certain pedals only if they are first in the chain...and to 1M for all other models. Technically, lower than ~1M IN-Z actually compromises the guitar's dynamic range and attenuates the highs, but the pedals will sound more like the hardware versions with their "authentic' input Z setting.  So, there's no harm in leaving the Z to Auto.

 

It doesn't sound like there is anything wrong with the "Fizz" version. It doesn't seem to be clipping. It just sounds like it has more upper harmonic content. That would indicate that the 1/4" output switch on HD500 face is not set to "line" like it should be when you are recording a line level signal. You should also make sure you are connected to the line ins on your Presonus A/I device from the main outs on the HD500, and not the Hi-Z guitar inputs. When reamping, you should connect from a line level out on the A/I unit to an FX return (set to line) on the HD500, and not to the HD500 Guitar or Aux Ins.

 

Also, the amp is the least spongy with the Sag at 0. That seems a bit extreme. Somewhere around the middle would be more amp-like. Same deal with the Bias X, but regarding amp distortion: amp distortion is the hardest sounding and least dynamic when at 0. It makes sense to boost the mids on the amp with the 4x12" Hiway cab. You may want to back it down after setting the Master DEP up higher. The Dyn 57 mic has a lot of presence and not much bass, so you may want to back the treble and/or presence off a bit. You might try one of the ribbons mics, the U67 or Dyn 409 instead. Just something to be aware of. The 57 may be just fine. They quite often are.

 

Regarding FX, you have the Output at 100 and the Drive at 0 on the Tube Screamer. I don't see a point in using the TS at all with those settings. TS's somewhat kill the dynamics and frequency range of the sound. They have their purposes, but I don't think it will help with the huge metal tone you seem to be going for. Moving along, the Gain on the last eq is at 0. I'd think that would drop the signal output a lot? Once you get your signal levels and amp set up right, you probably won't need the extra eqs.

 

Not that it will hurt to leave it, but I'm not sure why to aim for a -12dBFS internal peak signal level? Pro digital recording level is actually -18dBFS. You could aim for -6dBFS peaks all the way through to the recording without any problems. I always record around there. Recording to 32bit Float has no real advantage, but it doesn't hurt. The 24bit A/D converter would clip way b4 the file does, so you'd still essentially have a clipped file if it did. 32bit Float is useful for post processing.

 

For ~$380/pair shipped, I think the Equator D5 are the best "bang for buck" home studio monitors. Mix, SOS and EM mags all gave them stellar reviews. They are a ported coaxial design with internal DSP compensation. Bass extension, midrange clarity, and phase accuracy is outstanding. You'd really have to spend over a grand for anything more accurate. They are sold direct from Equator with a 60 day refund policy. I keep the input trim on my monitors down to -15dB, so I absolutely never distort the inputs. You either need to do that, or keep your A/I unit master output down ~halfway to be sure you don't get distortion. Break them in as with any monitors for a day facing each other with 180 degree channel inverted white noise up loud, but not distorting. Use them a lot in those 60 days to make sure they are OK.  Power switching amps are less tolerant in some ways of spec anomalies than analog amps.  If they were constructed OK, they should last many years if plugged into a surge protector.  Don't buy balanced cables unless you need some more quality cables -- you won't notice the noise difference with short cable runs. Run signal cables perpendicular to power cables for the lowest noise. Make sure you plug your gear into a surge protector, or even a SP/PC/UPS combo unit. I got a Belken combo unit for ~$70 several years back -- good investment. Use the same outlet for all your gear to avoid ground loop hums.

 

Monitors should be elevated ~1' above the desk up to ear level when seated. I mounted ~1'x1' shelves of criss-crossed glued 5/8" thick finished poplar onto the back corners of my desk ~3' apart at the outer edges. I just use thick mouse pads under my monitors. I have a very complex shaped top floor carpeted bedroom area with a bed, thick folded linens and hanging clothes, and other absorbing junk, so there aren't obvious resonances. I hang a heavy blanket on the wall behind my head to kill high-end slap back. It all works fine. You could spend some money treating your room. It may not be necessary when close monitoring, unless you have significant echoes and resonances. A decent room is as least as important as decent monitors. You can check mixes with adequate studio headphones, but you should use a stereo monitor sim plugin if you plan to mix on them -- it has become a more common practice lately.

 

Guess I got on a roll and had to cover everything under the sun. Hope it all helps.


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#31 DeanDinosaur

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Posted 13 December 2013 - 04:04 AM

Sheesh...where do I begin? ;)

 

... Technically, lower than ~1M IN-Z actually compromises the guitar's dynamic range and attenuates the highs, but the pedals will sound more like the hardware versions with their "authentic' input Z setting.  So, there's no harm in leaving the Z to Auto.

 

It's not about harm or no harm!  The POD HD doesn't fully provide for input impedance that matches real world. Anything but "auto" will be closer to real world tube amps. Tube themselves act as capacitors that roll high frequencies. So even when you plug directly into a real world tube AMP   , your guitar pickups will be changed (high frequency rolled off ) not compromised since most players prefer tubes over solid state and that's how tubes behave.  A true tube amp input Z would be 1mg + Cap  (the cap will roll off highs).

 

Pod HD doesn't have caps, so anything under 1mg would better simulate real world tube amps because it would be similar to 1mg+Cap.  Eleven Rack and AXE FX II (not I) has the capacitors option and this is a hardware feature not software because software EQ can't predict what kind of pickup you use, but a hardware capacitor will work the same way regardless of the pickup to simulate pluging into  a real world tube amp.


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#32 gckelloch

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Posted 13 December 2013 - 04:35 AM

Thanks Dino. :D  I'm not an electrical engineer, but from what I know, tubes squelch the highs when overdriven, which of course is programed into the modeling.  Wouldn't the amp model have said any tube traits designed in, attenuating any highs as the preamp would?  Perhaps the A/D front end is somehow configured to act like tubes when they aren't being driven? Couldn't such a thing be incorporated into an op amp design?  I'm not sure what is used as the analog guitar preamp circuitry.  Also, I think excess impedance loading limits dynamic response. It all sounds like something to look into.


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#33 Akeron

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Posted 13 December 2013 - 05:14 AM

I was under the impression that

 

3.5M = 1M + Cap

 

In fact I've never seen anywhere a use of that value describing amp input impedance, so that could be an explanation of what's that and why I find everything below that "dead" sounding...


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#34 DeanDinosaur

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Posted 13 December 2013 - 06:01 AM

I was under the impression that

 

3.5M = 1M + Cap

 

In fact I've never seen anywhere a use of that value describing amp input impedance, so that could be an explanation of what's that and why I find everything below that "dead" sounding...

3.5m has less high frequency roll of and more of the guitar signal which can be very useful and give a more open sound so I doubt that it has cap.


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#35 DeanDinosaur

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Posted 13 December 2013 - 06:35 AM

Thanks Dino. :D  I'm not an electrical engineer,

Neither am I. I just read this thread from those who first started using input Z in their product and then other companies followed.

I thought it was an interesting read

http://community.avi...out-true-z.aspx


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#36 gckelloch

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Posted 13 December 2013 - 09:27 AM

I completely rewrote this entry since I first posted it. I think it's worth a re-read.

 

An important factor to consider is that a PUP's Rdc value (often incorrectly labeled "DC R" or some variation) has nothing to do with its Z (impedance). A PUP can have a Z of 10x or more its Rdc value. A mixer I had once considered has 10M Hi-Z inputs. It makes much less difference on the tone above ~1M, because the pots factor into the total load, and they have usually have much lower values. As I mentioned b4, to get the flattest and most extended frequency response, it's best to use a low C (Capacitance) cable. ~200pF is a good value combined with the recommended pot values for the H value of the PUP's on a given guitar. It's best to use PUP H values within a ~1:2 ratio on the same guitar, so the pot values will work well for all PUP's. If you have appropriate pot values for your PUP's, you won't have sharp resonance peaks.
 

It's not actually any more consistent to rely on the simulated "Miller Capacitance" affect of the Eleven Rack units, because different PUP's, pots and cabling will produce different results when combined with the Miller C...and that Miller C is different depending on the tube circuitry design. Some designs may have more C than others. Furthermore, the Eleven Rack examples of the PUP with the 1M load do not appear to include the pot values, which would put the load at ~110k for a guitar with 250k pots -- reducing the peak to the same level as the 1M+Cap example. That strikes me as intentionally misleading.

 

For most guitars with ~2H-4H PUP's you want a pretty flat response on the bridge PUP out to ~4kHz. Presence peaks tend to sound too bright at the bridge unless up at ~6kHz+, which is sweet and sparkly through a Fender Twin, but can be fizzy with a lot of gain. High gain preamps often roll off the highs anyway, so it could be just fine. A ~3dB peak at ~4.3kHz or ~6kHz for the middle or neck PUP works well. A few other peak values will work, but picking articulation suffers as ~4kHz is lost, and peaks around the 3kHz range accentuate the dreaded "ice pick" tone. With ~8H+ PUP's, 500k pots and a ~200pF cable, the added Miller C won't have as much affect. The roll off would be down near 2kHz and wouldn't change much unless a lot more C is added. It's just the way that stuff works.

 

Incidentally, rolling the tone knob down a bit smooths off the peak just like the 1M+cap. It just doesn't lower the peak location as much. Funny that the Eleven Rack example has the 1M+cap peak located at the ~3kHz "ice pick" zone. Did he even listen to the PUP example he gave? If you have a fairly flat extended response on your guitar PUP's, you can dial in a peak with a LP filter. Peaks in the ~1.5-2.5kHz range on the bridge can be useful for a sweet vocal lead to a defined mean rock/metal tone.
 

I learned a lot from the late Bill Lawrence about all this stuff. His company, Wilde USA, produces the most consistent, efficient and refined PUP's on the market. Quite affordable as well. The appropriate series H value is available for each PUP model. It's definitely worth trying particularly the MicroCoils -- if nothing else than to hear what your guitar really sounds like, and maybe as references to judge other PUP's by. Nuff said on that. I won't push other product brands here.


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#37 RIblues

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Posted 15 December 2013 - 10:55 AM

gckelloch, another interesting post to read.

 

I'm glad that Line 6 included this adjustable setting and I don't know if users actually try to determine their pup's value  and match with the Input Z settings, but it's certainly worth it to try and listen to how it affects the tone. Personally, I lower the Input Z setting when I am creating patches for my strat because it seams to exchange some "thinness" with some "fatness" if that makes any sense. I still hear the sparkle and chime when using the Bf Lux model, but it's nice and fat and thick with the Input Z low.


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#38 Akeron

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Posted 15 December 2013 - 11:51 AM

Very interesting explanation gckelloch but I  have some questions:

 

1) Since "1M" value seems the standard amp input value, what do you think "3.5M" is exactly? I can't seem to find any reference anywhere. In the circuit schematics I've seen there is 1M only. I wanted to know that because I prefer 3.5M most of the time...

 

2) How can you determine (apart from judging by ear) which is the correct "Guitar In-Z" setting? For example I've got a Gibson SG with everything stock. See 1)


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#39 gckelloch

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Posted 15 December 2013 - 11:52 AM

Sure thing, RIBlues.  Yeah, it's really just lowering the peak a little.  Seems like there should be a 500k Z option.  You'd be surprised how rich and meaty your guitar can sound with a  ~200pF cable through certain amps.  The extended highs and flatter overall response really adds depth and nuance.  It also makes the tone knob more useful by extending the range it affects.  I prefer more vintage amp models myself, like a good mid 60's Deluxe, Twin or SR, a '59 Bassman, a JTM45 or S100, Vox, etc.   

 

Akeron, 3.5M is just a value they chose for some more flexibility.  You might prefer the slightly more emphasized presence you get with 3.5M.  In all honesty, I don't think there is any difference between lowering the HD500 IN-Z and turning the guitar tone knob down a bit.  You should consider a low C cable to see if it gives you more of what you want from your guitar.  Planet Waves Cable Station packs of 50' of 19pF/foot cable with 10 screw on plugs are ~$60.  Best deal I've seen.  An 8-10 foot cable of that would be ~200pF.


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#40 Akeron

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Posted 15 December 2013 - 01:29 PM

Ah it's a random value :) Regarding cables, I've seen endless debates. Some say they notice a difference changing cables, while some others not. It's a confusing subject. Thanks :)


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