Rewolf48

Another thought - pickups might be too close; the single coil pickups on my JTV69 have a lot of pull down towards the fretboard which was stronger on the fatter strings. I lowered them as one of the first adjustments because the bass is too strong for my taste - it was also suggested way back by stevekc: "* Adjust the pickup height. I should point out the JTV-69 uses single coil pickups with strong magnets. I adjusted the pickup height same as I would a vintage Fender Strat - that is I made damn sure the bass side of the pickup is backed away from the strings. If these pickups are set too close to the strings, it kills sustain, and the strong magnets can actually "pull" the low strings sharp with periodic oscillations as seen on a strobe tuner. Lower the pickups and these oscilaltion anomalies go away, and sustain improves!" http://line6.com/supportarchivenew/thread/73637 Pulling the strings low can cause fret buzz!

http://line6.com/support/topic/2164-pod-hd-tone-conversion-utility/

There is a mail in rebate in the UK too - for £100: http://www.guitarguitar.co.uk/news/article.asp?id=126889, in combination with a retailer discount of 30% on some models the prices are looking quite good at the moment. e.g. JTV69S: £719.00 and the £100 rebate as well makes it £619 http://www.guitarguitar.co.uk/electric_guitars_detail.asp?stock=12102915362047

Blame the bass player ;) And the Keyboard player :P And the other guitarist :D And the drummer :lol: And the singer(s) :o In fact if they all shut up there wouldn't be any problems being heard at all :rolleyes: Actually, humour aside getting the whole band to sit nicely together in a mix is essential to sounding good

http://uk.line6.com/supportarchivenew/thread/56863 http://uk.line6.com/supportarchivenew/thread/46521 http://line6.com/support/topic/4405-additional-expression-pedal-for-pod-hd500/ I use an EV-5 because I had 2 from way, way back. It is TRS but work perfectly if the min value knob on the pedal is set to 0

The Amp Volume on an HD500 is a simple Output Level and it is linear and completely clean; it is not a model of the Amps Volume control - the Amp (Master) Volume knob is a DEP option. But it can change the Tone because it changes the level into following effects many of which are quite sensitive to being overloaded and will. So I agree with you about not doing this but for slightly different reasons. It should the be Output or Mix level of a late in the chain effect that you control, and don't forget that an Expression Pedal can change many parameters at the same time, so it could cut bass and boost mids/treble at the same time as increasing the volume level; for example a Mid Boost EQ or Vintage Pre at the end of the chain can have not just volume but also EQ settings changed by rocking Exp2.

Because each Pickup and Body takes some memory (for the IR)... and the on board memory is limited, so to have a new strat body something else has to get thrown out. The idea of a "personal firmware" where you pick your preferred 20 bodies and 20 pickups to be used is not impossible and theoretically allows infinite modelling, but only if the software was written with this concept in mind in the first place - otherwise it is probably like trying to get an HD500 to set EQ values in Hz. Given that other than a hardware upgrade it is the only way to achieve the numerous New Body + New Pickup requests on IdeaScale http://line6.ideascale.com/a/ideafactory.do?mode=top&discussionFilter=byids&discussionID=45826 it is something L6 must be at least considering, or have considered and then realised that they should have thought of this before they wrote the JTV firmware and it is too late now.

JTV modelling is based around processing the pickup signal using techniques like convolution (e.g. to model body resonance). But you still have that original signal driving it, and while the Piezo pickups while positioned to get the most isolated signal from the strings possible will inevitably still get something of the body and bridge that will leak through to the final signal. That apparently is why Line 6 do not sell Variax Guts as a kit - because the variation on the inputs would give so much variation in the modelled output and then they would have to support all of the "my custom G9201 Variax doesn't sound like a Strat!!!" complaints (Gretch Resonator).

Buttons just displays indicators when Button On and Off events are detected - it is a way to test that the buttons are working properly as the display should change as you press and release every button (first time). Just a diagnostic tool and no use unless you think your button is broken. But you can play the game of trying to find them all...

Combination of Volume pedal controlling volume going into a reverb with a very long decay. You see him rocking his foot forward to raise the volume slowly for each new note being played - you need to do that (or use the guitar volume knob). Particle verb does this quite well this video shows (not me)

You'll have to explain that one to me... my strings are round in profile and don't have a "fat side" :huh:

That reminds me - a very old Helpful Hint that is one of those that "everyone knows" (which means that anybody new doesn't) is to the use the Looper when setting up sounds. Move the Looper to the Pre position so it records the inputs, record a few key phrases into the loop, and then set the loop playing - now you have both hands free to tweak patches and hear the results in real time; can save lots of time. However there at least one potential "gotcha" - the looper is mono :( so it will be output as if it was both Input 1 and Input 2 at the same time which could cause problems with dual path patches

The interface to JTV is a MIDI one that exchanges System Exclusive data (the firmware settings for the JTV). Workbench allows you to change the configuration of all of the JTV patches. What it doesn't do is transfer audio - you still need to listen to the JTV through an Amp exactly as you would without the computer connected.

Amps have two volume controls, the second of which is the bypass volume - or the level of signal when the amp is switched off, and this defaults to 100%, so you are hearing the clean guitar signal via the disabled amp path. Select the disabled amp and turn the Amp Volume down to zero.

"We" don't know, because L6 people do not typically post on the User Forums, and they never, ever let slip about new products or upgrades unless it is being formally announced. The beta testers (if there is a beta test program at the moment) will know, and some of them might even be forum users, but they are gagged too. It is an interesting concept, but might not be possible because L6 might have used a lightweight pitch doubler for 12 string so that it can then work with the Alt Tuning feature, and there might not be enough DSP to do 12 separate Pitch shifts. But I really don't know. You can suggest it on IdeaScale (http://line6.ideascale.com/)

With respect to distortion of Vintage Pre - as part of my instructions I missed that in order to avoid overloading any effect that I try to keep a unity gain structure along the chain - that is the final volume of the whole chain and each component, and especially the amp has the same level as guitar with no processing. I might raise the gain of an overdrive to overload an Amp, but the output of that amp with overdrive will still be the level of the guitar with nothing in chain. The PA Speaker can do over 120 DBA at 1m which is more than enough for monitoring! If you are running the internal chain at a level much above -12db then you are potentially overloading lots of the effects, so this is another one of those useful hints!

Last thing in the chain - it is conditioning the final output to fix some of the weakness of direct to FRFR without having a mixer in the way. Think of it this way, if you have a real Amp (studio or live) then the Sound Engineer shoves carefully positions the microphone up against the speaker, not because it necessarily sounds best there (personally I would prefer that the mic is where my ears were when setting up the sound!), but because this offers the best isolation from the other instruments and from the room. That signal is what the output of the modelled Amp is in the HD500 chain. In a big stage live situation assuming that post-amp FX (delays, verb, etc) are in an FX Loop, that signal goes to the main desk where it is EQ'd and Compressed a bit using a Mixer Channel Strip (aka Microphone Pre amp) so that it sounds acceptable when it comes out of the main PA. You can't insert FX in a virtual Amp FX Loop on the HD500 (unless L6 give us separate Pre, Power and Cab options in future), so you have to place them post amp, but in the FX Loop they would have treated the full range signal and therefore I allow them to do the same, and place it last in the chain. If it is any consolation for the lost slot it replaces an end of chain Volume, Valve Comp (mild settings) and Mid Focus EQ

If using a budget "FRFR" (PA Speaker) you will need EQ to tame the high-end fizz and overwhelming bottom end. These speakers often "enhance" the top and bottom end as that sounds good for full range music such as DJ use - not at all good for Guitar Amp Modellers though. Line 6 modelled the Amp/Cab/Mic block exactly what you would hear on the Mic a few inches from a speaker, directly in line with the power amp on full, any Sound Engineer will immediately set the channel eq on the desk to Cut a lot of top and bottom end before letting that signal anywhere near a PA speaker. But many HD500 FRFR users expect it to be perfect as is. On other forums you will find that Axe FX FRFR users typically start before tweaking with a Low Pass Filter at 5K, but how to do that on HD500? You have to use an FX slot with an EQ, and then learn how to use the thing. The one that I have finally found to be easiest to use is Vintage Pre for the very simple reason that it has EQ values in HZ. It isn't always considered as Meambobbo didn't like it much so it didn't feature in his guide, and many people when they first try it get a nasty distortion from the default settings assume it is rubbish and then ignore it. Don't - Line 6 added it in as part of the later revisions because it really does fill in a hole combining EQ and Valve Compression and when you are going into FRFR you need both. Try as a starting point: LP Freq = 5.5KHz HP Freq = 100 Hz Output to Max Input to a level where the bypassed and direct volume are similar - this will be a surprisingly low setting This will cut the ice-pick highs and the really boomy bottom, and add a little subtle warmth and minimal compression. Then you can increase the Input and lower the Output until you get a compression level you want, but only push it into distortion (which it will do) if you really want that effect.

And I thought I had enough problems not tripping over a single cable (VDI)!

Before sending it anywhere you could try re-flashing - this can clear odd behaviour sometimes and is the first thing that Line 6 will be doing anyway

Actually iPod was at least the 9th Mobile Digital Media Player to appear and like many other Apple products was 3 1/2 years after the true pioneers - companies such as Audible, Creative, Diamond, Archos, and others. They then had the cheek to sue Cowon for "stealing" the "i-prefix" by using it on the iAUDIO CW100 (6GB) that was launched in October 2000 a whole 12 months before Apple launched the first iPod with only 5GB of memory. So not the first, definitely not the best, but perhaps a bit more stylish, better advertised, and more pushy lawyers. http://en.wikipedia.org/wiki/Mobile_digital_media_player

No - the HD500 is an effects unit and only outputs a mic, instrument or line level signal (depending on output used and settings), you have to an amplifier to power anything bigger and louder than a pair of headphones.

If running the second via MIDI think about HD Pro which has a digital In into which you send the digital out of the HD500 which means only one AD/DA conversion and less latency, but you will be limited to the two units in serial, so one for pedals (gate, compress, od, dist) and amps, the second for the rack effects (reverb, delay, mod)

You can switch two different Amps on to off and off to on with a single switch, but that does mean having two Amps which eats DSP. I would prefer Scenes (as found on Axe FX, Yamaha Motif Keyboard and many, many others) where the Patch defines what components are present, but a Scene defines the state of all of the controls - 4 or 8 scenes per patch would be plenty and this would be an alternative to (or extension of) footswitch mode. Using an Expression pedal to go between two states is currently possible, except that as there is no control over the taper of the expression pedal (linear not audio) the middle positions are generally useless so it might as well be a switch