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Ed_Saxman

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Everything posted by Ed_Saxman

  1. I have no idea, but I think it should be similar. Perhaps not so cool, with more ugly veining of wood, which may explain why they have chosen dark finishes. Still, I think it would look good with a natural finish. I'd really like to see the result, if someone is brave enough to do so. You will find some pictures of the wood here: http://www.flickr.com/photos/line6photos/5516384934/in/photostream/lightbox/ "Cutting JTV-89 bodies" "Stack of JTV-89 ready for paint"
  2. Mine is "blood red", but I wish they would have sold a korean model with natural or amber finish. Supposedly there is a US model available with this kind of finish: but have never seen a real photo apart from this: http://line6.com/support/manuals/jtv89us
  3. Variax Acoustic 300 doesn´t have VDI connector (unlike the 700 acoustic, which does have) but there is no reason why you can not use it with any multieffects processor. The HD500/X doesn't have any modelled acoustic amplifiers, that´s true, but the fact is you do not need any, actually. And there are about 90 custom presets in customtone related to acoustic guitars, in addition to those included in the factory presets (they are few, but some sound really good, no need to have a dedicated modeling amp) What you are looking in an amp for any acoustic instrument is to be as flat as possible. And there is no an amplifier flatter than no amp at all.
  4. I´ve found the photos here: http://www.voxhumana.nl/index.php/nl/photo-galeries/102-variax-700-met-extra-pickups It´s made by a dutch luthier. As I said earlier in this thread, I really like the shape and color (among other things) of my variax 700 amber, so I'm seriously considering putting on humbuckers (take a look at post #40 ), but that would be the day that the electronics stop working, for use as a standard electric guitar. For this reason I have asked that question to you (mentioned in my previous post)
  5. By the way...I have a question that maybe you can help me solve. Regarding overall building quality ... What price range would correspond to a Vax 700 guitar as if it were a normal guitar? (I mean, the price could have had sold new as a standard electric guitar) Of course, we must take into consideration the price of the magnetic pickups, so if we assume that it had a couple of Seymour Duncan humbuckers –something like the SD Hot Rodded set: SH-2N + SH-4 JB–, How much do you think that would cost this –made in japan– guitar sold new? (and not necessarily under the L6 brand)
  6. More pics of a VAX 700 with magnetic pickups, this time in a S-S-H configuration:
  7. In the last drivers update for POD HD500/500X, the POD HD PRO X was mentioned. So YES, IS COMING. The specs will be essentially the same. Just a slighty better DSP ( < 20% improved)
  8. My two beauties, head to head. Time for a threesome? Sorry, redhead, but I still love my blonde. I hope you do not get jealous. She is not, at all. I like that, girls. keep it up. Beautiful necks.... Her cleavage is allways motivating. And those pretty shoulders... Perhaps it is better that we all go to bed. No one has to go now. It will be much better if we stick together. By the way, redhead, have you ever been experienced?
  9. Here: http://ow.ly/i/3Ayj Original post: http://www.guitarmasterclass.net/guitar_forum/index.php?showtopic=35474&view=findpost&p=498326 It´s made by a brazilian luthier. I also like the look of the 700 without pups, but we all have to assume that the electronics will fail someday. And I'm glad to know that even then I can still use the guitar, spending a little more money in the work of a good luthier.
  10. +1 This is the exactly the same situation as mine. I bought the 89 Blood Red just because of the sweetwater offer. Initially planned to sell my Variax 700 later, but once I saw them both together, I realized that I could not sell the most beautiful guitar I have. The 700 looks more like a Jazz guitar to me (body shape, headstock, neck inlays, etc). I also love some PRS guitars, by the way. I think I'm going to keep this guitar forever, and even if the electronics fail some day, I'll take it to a luthier to install a good pair of SD pickups. Something like this:
  11. No, it will not. The driver is the same, but the editor does not. This is the HD500X Edit running offline mode (as my HD500 is not recogniced at all): But the editor is apparently exactly alike. In the screenshot I've seen that are different... the image does not correspond to the current editors. Perhaps they are developing a new version with improved graphics? I hope it will be for both models.
  12. Look here: http://line6.com/support/topic/594-control-your-line-6-hd-500-dt-50-with-ipad-with-midi-designer-app/ Not so many controls via MIDI, at least for what I captured using MIDI sniffers. HD series is very different from other POD series; maybe that's why there are not so many controls (amps, effects, etc.) you can drive with MIDI commands. This means podHD is therefore less controlable than the X3L or pod 2.0: http://mididesigner.com/qa/110/call-for-layouts-line6-pod-family-of-controllers?show=513#a513
  13. Use the FX loop Get an Y Splitter Cable (1 x Stereo TRS Male - 2 x Mono Male), and two Mono cables for FX return. If your loopstation is mono (RC-2. RC-3), then you´ll only need 2 mono cables.) Then set the FX Loop as the last block of the chain.
  14. Well... Mostly because I would like people share their tricks, ideas and presets here, rather than in a space where there is no communication, as CustomTone. Moreover, there may be a version 4 soon, with more presets, and I would keep the bundle under control, instead of multiple coexisting versions. And finally, if someone has to upload my own presets to Custom Tone, I'd rather be myself who do it, or at least someone with my prior consent. But don´t worry, next time I'll try to upload here the bundles for other PODs too. :lol:
  15. Send me the bundle and I'll upload to Mediafire, to be linked on the first post :( That was not so good. Fortunately I can see that apparently you have not done yet.
  16. A MIDI Controller for Line 6 Pod 2.0 Guitar Multi Effects Processor The Line 6 Pod 2.0 isn’t just for practicing: it’s for serious recording and playing. One of its strengths is its portability. However, its 10 small knobs are pretty limiting from a human interface perspective. User Matt O’Connor steps into the void to create this handsome, comprehensive MIDI controller for the Pod 2.0. His work is impeccable. It even mimics the round arrangement of knobs and the stylings of the Pod 2.0. And most fascinating of all, he says he made it within a day of getting MIDI Designer. Truly amazing! Instructions for Use Buy MIDI Designer Pro or unlock MIDI Designer Lite Check out the instructions, screenshots, and notes on the Community Site. Long press on the MIDI Designer layout and use “Open In…†to open it in MIDI Designer Pro or Lite unlocked. Source: http://mididesigner.com/community/midi-controller-for-line-6-pod-2-0/
  17. Guitarist François Desnoyers has been one of the most influential people in the MIDI Designer Community. Features from his suggestion list are still being implemented in every MIDI Designer release, and his international French is behind the French App Store text. But as you can see from his layouts, he’s serious about making MIDI Controllers, like this one for the Pod X3. Pod X3 users tell us that they love having this level of control. As the author himself says, “I finally found a way to control my LINE6 gears from my iPad without having to spend days trying to understand how the tool works.†If you own a Pod X3 and an iPad, you owe it to yourself to check this out. It’ll make you realize just how much that little red box is capable of. Bank 1 POD X3 LIVE main controls POD X3 LIVE – Main + Reverb + Delay libraries and controls POD X3 LIVE – Main + EQ and Wah libraries and controls POD X3 LIVE – Main + Modulation library and controls POD X3 LIVE – Main + Stomp boxes library and controls Bank 2 Guitar Amplifiers Guitar Cabinets + Pre-Amplifiers (Guitar, Bass and Voice) Bass Amplifiers and Cabinets Instructions for Use Buy MIDI Designer Pro or unlock MIDI Designer Lite Check out the instructions, screenshots, a short video and the read me file on the Community Site. Long press on the MIDI Designer layout and use “Open In…†to open it in MIDI Designer Pro or Lite unlocked. Source: http://mididesigner.com/community/midi-controller-for-the-line6-pod-x3-live/
  18. All credits regarding this discovering goes to Elantric from Vguitar Forums. Guitarist and MIDI Designer Pro user François Desnoyers has been one of the most influential people in the MIDI Designer Community. Features from his suggestion list are still being implemented in every MIDI Designer release, and his international French is behind the French App Store text. But as you can see from his layouts, he’s serious about making MIDI Controllers, like this one for the Line 6 HD500. The HD500 does not allow for a lot of MIDI control. Even so, François solves one of the biggest problems with the interface, which is allowing direct, visible access to the presets: Having to rely on a reference grid to identify presets was not very pleasant. I decided to reproduce most of SETLIST panels on pages. You can mix and match pages from this layout with those for the Line 6 DT50 Amp Controller. This way you can control both your FX and your amp from the same device. Sweet! MIDI Controller for iPad for Line6 HD500, 1 of 2 Instructions for Use Buy MIDI Designer Pro or unlock MIDI Designer Lite Check out the instructions, screenshots, a short video and the read me file on the Community Site. Long press on the MIDI Designer layout and use “Open In…†to open it in MIDI Designer Pro or Lite unlocked. http://mididesigner.com/community/midi-controller-for-line-6-hd500/
  19. Wow! Three guys called Robert (my middle name) are the only ones who have written on the same thread. You realize how exceptional is this possibility to occur, statistically speaking? As for what says the third Robert... could do that for you, but a simple way to extract the presets of a bundle of HD500 is downloading the "HD500 Edit", who also works in stand-alone mode (no need to have the machine), from which you can load the entire bundle, and then extract any preset individually.
  20. Bass Compressors A compressor is easily the most often used effect used by bassists. It’s also one of the most unglamorous effects. If you have a compressor, you will probably always use it as you play. Compressors fall into the family of dynamic effects. In music, dynamics refer to how loud or soft a sound is. Dynamic effects alter how loud or quiet a signal is. What is Compression? Compression squeezes, or compresses, the dynamic range of a signal. A compressor will reduce the volume of loud notes which in turn allows the overall volume to be boosted. An excellent example of compression is when you hear a vocalist singing a quiet passage followed by a loud one. How come you can hear the whisper quiet passage, but the loud one doesn’t distort and blow out your eardrums? Most likely compression is being used on the vocals to compensate for the wide range of dynamics. The loud vocal passage’s volume is reduced by the compressor making room for the quieter passages to be turned up. Why Do Bassists Use Compressors? Using a slight amount of compression on bass beefs up your bass tone a bit. Compression can give your bass sound that smooth, glassy tone. You can get a punchier sound using compression. Compression can really balance out very dynamic playing styles like slap bass. If you use too much compression your bass tone might sound lifeless. But, just a little makes a big tonal difference. A bass compressor is about the only must-have effect for bassists regardless of the style you play. I highly recommend getting a compressor both for live playing and home recording. The average listener won’t know it’s there, but you will enjoy the subtle effects. Compression Threshold Compressors usually have an adjustable threshold setting. The compression threshold is the volume level (gain) at which the compression effect is engaged. Any signal passing through the compressor which is louder than the threshold setting will be compressed. Any signal lower than the threshold will be unaffected. If you can adjust the threshold setting on your compressor, adjust it to taste. It depends on if you only want really loud notes compressed or most everything compressed. Compression Ratio The compression ratio selects the amount of compression to apply on signals above the threshold. The ratio might be something like 3:1 (3 to 1). That means for every 3 dB you send to the compressor beyond the threshold only 1 dB comes out. A 1:1 ratio would not compress anything. An ∞:1 (infinity to 1) means any signal above the threshold sent to the compressor only 1dB comes out. This is known as limiting. You may see units called compressor/limiters. Limiters are often used to prevent damage to speakers. (Many TV sets now include limiters to squash loud commercials.) On some effects units the ratio is just marked as ‘compression’ or ‘amount’. This setting increases the ratio. Most bass players use a 2:1 up to 5:1 compression ratio. You really have to listen closely to adjust it. It’s very subtle. At first you might wonder if it’s even on and working! Try starting at the highest amount of compression and you’ll hear the dynamics squashed. Then slowly lower the compression amount until it suits your taste. A little goes a long way. Makeup Gain A compressor is a gain reduction device, therefore all compressors have a make up gain control so that if you are using 3db of gain reduction you can turn the output by that amount and still retain the same headroom. Sources: http://www.tunemybass.com/bass_effects_guide/bass_compressors.html http://www.tunemybass.com/bass_effects_guide/bass_compressor_settings.html http://www.sae.edu/reference_material/audio/pages/Compression.htm http://en.wikipedia.org/wiki/Dynamic_range_compression About Pod HD / M Series: We are all at a bit of a disadvantage with the L6 Dynamics because: a) almost all the parameters are fixed and b ) they don't give you ANY information about the specific parameter settings including Ratio, Attack, Release, plus there is no Gain Reduction metering. From the HD500 Manual ... they ONLY mention Threshold, Sustain, and Level in explanation yet the Vetta Comp uses "Sensitiviy" and "Amount" ..... • Threshold: For compressor FX, lower values result in greater compression, along with an automatic makeup gain stage dependent upon the Threshold setting. • Sustain: Some compressors include Sustain, which is much the same as a Threshold control, but functions in reverse - higher settings add more compression and thus more sustain and squishy goodness. • Level: Adjusts the overall volume - higher settings typically offer an output boost. Tube Comp Based on the Teletronix® LA-2A® studio compressor, is a fat dirty sound that is supposed to be like a vintage tube/optical compressor. It adds a layer of subtle distortion, and pumps the lows. Seems to be one of the most prefered choices by the (M and HD series) users when using a bass (see talkbass link below). (quote: "It also has the most gain of all the models, such that I had to set the output level at minimum in order to avoid clipping the rest of my gear. So when I used it to push a tube amp into overdrive, it sounded really terrific--but it was almost unusable with a solid-state rig due to the nasty clipping.") The original LA-2A has 40dB gain. The compression position on the compress/limit switch on the LA-2A (again, the original thing) is considered 4:1, but really the ratio will fluctuate depending on the source.The LA-2A has a release time which requires about 60 milliseconds for 50% release, and then a gradual release over a period of 1 to 15 seconds to the point of complete release. You may think of the LA-2A as having a “composite†release; made up of several stages. When compression is heavy and/or the signal has been above threshold for a long time, the LA-2A's release will be slower. Vetta Juice The ‘Juice’ in Vetta Juice comes from the 30dB of available gain in the LEVEL knob. It’s got a fixed threshold of -40dB with the SENS knob varying compression ratio from 1.5: 1 all the way up to 20:1 (which is a whole heck of a lot). This combination of design features gives you the option of cranking the level enough to get some serious gain boost, or setting the gain lower and dialing up a smooth, clean sustain. Vetta Comp Vetta Comp has a fixed ratio of 2.35:1 with the threshold (that would be your SENS knob) adjustable from -9dB to -56dB. Up to 12dB of gain available at the LEVEL knob. In other words, turn the Sens knob ’til you like the way your signal’s compressed, then set the volume with Level. Boost Comp Inspired by* a MXR® Micro Amp but with compression and EQ added. (Quote: "It's funny to me that the Boost model has the most controls, when the pedal it was based on has only one knob.") The Vetta and Boost have the most natural, flattish frequency response of the group, good for "general purpose" use (including for bassists). Of those two, the Vetta is basic and clean while the Boost allows some extra drive and coloration, as well as having two-band EQ. The Vetta and Boost both have better lows than the Blue, and the highs are about the same as the Red; and the Tube has massive lows, and OK highs. Just like the majority of other digital comps, the POD HD it's not so good at peak limiting. You can get some decent limiting in the Vetta Comp, with the threshold low, if your playing is steady; but its ratio is only about 3:1, so if you hit it hard and fast (e.g. with slapping), it will certainly not stop those peaks. However, the Vetta Juice has a widely variable compression ratio and a extra amount of gain to boost. Among these first four compressor models, my personal choice are the top three for use with a bass (tube comp, and both Vettas). The Boost Comp model, although it may be perfectly valid, adds too many unnecessary parameters (at least for my personal taste and needs), and I think it may be better to keep things as simple as possible at this point. Regarding the rest of compressors included in the pod, we could simply discard them, being more suitable for use with a guitar: Red Comp Based on the MXR® Dyna Comp.The Red model rolls off the lows severely, but has fairly open and present highs. Clearly meant for guitarists who want a bright sound. Blue Comp Based on the Boss® CS-1 Compression Sustainer with the treble switch off. The Blue model has a little better lows, but the highs are muted; Clearly meant for guitarists who want a dark sound. Blue Comp Treb Based on the Boss® CS-1 Compression Sustainer with the treble switch on. Sources: Vetta II manual http://www.ovnilab.com/reviews/l6m13.shtml http://www.talkbass.com/forum/f36/compressors-m9-m13-704413/ http://line6.com/support/thread/86064
  21. Hello everyone! This is the new thread dedicated to bass presets for Pod HD series. The original thread was located in the community "Long forgotten bass players", but I think it will be better here. I hope that this thread will become a place to share experiences, knowledge, and above all, our presets for bass! To start the discussion, here's my Bass Setlist for HD500 with 20 patches: HD500 Setlist V3 - "High Output Bass Amps" (16-Jan-2013) http://www.mediafire.com/?h4yta8468nawfzt How to convert Setlists: If you have a different Pod HD, you can use this tool: http://www.jzab.de/content/pod-hd All this presets are set on a "single arm chain": What you get with this Setlist is a high volume of output using a Bass, forget the messes that involved the dual input configuration, and make the pod HD works in a very similar way to how the Bass Pod worked (regarding to mono wet and dry outputs). But here you have the advantage of being able to play your bass in true stereo, too. Now you can have a balanced sound between the bass and guitar, and record comfortably in your sequencer. I left the presets configured as inputs Guitar:Same, but please, I do not want to contribute to this confusion. Using this new configuration (let's call it "single arm chain"), the input 2 has absolutely no effect on the sound (when using the config 1 mentioned below) If you want to record two mono tracks (wet and dry, panned all the way L/R), then it makes sense to use the second input as "same" (when using the config 2 mentioned below). Unmuting the Channel 2 you actually obtain a completely dry signal from your instrument. Of course you can also use a combination of both if you want to use another instrument on channel 2. But most important is to understand that in this way we have two inputs completely separated from each other without causing strange effects in the other, or interfere in any way. As I said before, for me this has been a great discovery. Thank you very much to Meambobbo. This is the structure for v3 patches: 1- Noise Gate. I'm currently using noise gates, until I learn how to use the hard gates. I'm a little slow! More details here: http://foobazaar.com/podhd/toneGuide/ampTone#noiseGates 2- Tube comp. Almost same settings than before. 3- Classic Distortion. Still here, for now. You could also use a wah pedal or whatever else here, if you prefer. 4- Analog Chorus. I removed the ugly delay in front of the amp, and now I have a chorus. I like this effect for bass, and I think this is the best sounding of the three possible. The Dimension and Triple chorus does not sound bad, but have far fewer parameters and are therefore less controllable. In contrast, analog chorus has many controls, a vibrato mode, a tone control, etc. For now I used a basic setting, but it sounds pretty good with the reverb. 5- Studio EQ. Still here, for now. I'm not using it much now, because I have found that it can be a specific setting for each bass you use. Maybe try a parametric EQ, but it seems much more complicated for me: http://foobazaar.com/podhd/toneGuide/eq 6- Mid Focus EQ. Hi and Low pass filters, now with settings 5%-65%. Gain between 0-30% 7- Spring Reverb. I used a reverb that is noticeable, but not annoying. Sounds great alongside the chorus. At least I like to use them together to have a good time. Note that when using chorus+reverb, overall volume will also rise up! I have had this in mind, so that the volume is not excessive when active. Still, if you play too hard, this could produce clip, so look first at gain settings I put into the Mid EQ. 8- FX loop. I´m using a Boss RC-300 loopstation here. About the Inputs and Mixer settings using the config above (single arm chain): Config 1: Just to play (Stereo) Input 1 - Guitar Input 2 - (Doesn´t matter, since PathB is muted.). Mixer - PathA +12 dB center, PathB Muted (panned 100%R just for convenience when using config2) Config 2: Recording (2 mono channels, Left Wet (processed), Right Dry (unprocessed, or DI) Input 2 - Guitar Input 2 - Same Mixer- PathA +12dB 100% Left, PathB +12dB 100% Right So you can: Record a stereo track selecting the stereo input, and then split the track on two separate mono tracks on your DAW. OR, arm two mono tracks on your secuencer selecting each separate mono input, and record both at the same time. Personally I like best the second approach, becouse I´m using Logic Pro, maybe in your secuencer there is an easier or practical way to do the first one.
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