Rewolf48

I interpreted the request to be that the rotary controls worked the same way that is often found on synths and other devices with real-time performance controls. Obviously (as with an HD) when you change Patches the controls can be in any position relative to the just recalled setting. For keyboards it is an absolute disaster if you need to just push up the volume of the primary part on a patch and because the slider or knob was on zero the sound immediately cuts out. Keyboards often have exactly the same type of controls as the HD has, and a bank of 8 or more sliders that are obviously absolute position. What keyboards such as the Yamaha Motif do to get around this problem is the "Latching Controller" concept where the setting is not changed until the control reaches the setting level. An example will explain this really easily - assume Control is the position of the knob/slider in (0 to 10) and that Setting is what the sound producing software sees (also 0 to 10): Control: 0 1 2 3 4 5 6 7 8 9 10 Setting: 5 5 5 5 5 5 6 7 8 9 10 Control: 10 9 8 7 6 5 4 3 2 1 0 Setting: 5 5 5 5 5 5 4 3 2 1 0 It is really simple - and would work well - I wish the Variax had controls like this too as the sudden jumps are a right pain sometimes. "Latching Controller" is my name for it because I can't find a proper name for the concept - is it based on the Setting Latching onto the Controller only when they are aligned. It is mentioned in the Motif Reference Manual on page 46 http://www.motifator.com/storage/support/motifxf_en_rm_a0.pdf [warning BIG pdf]

"Quoting from James Tyler Variax General FAQ :" Ha! forgot about that - must have found an earlier version :) If you have v2.x then the only procedure is to overwrite the firmware using Monkey - and when it asks if you want to overwrite the presets say yes. The JTV will then have whatever firmware version you overwrote it with

How do you plug an HD500 into that - extension strip with an IEC Plug?

That is not right - it sounds like there is a fault in the circuit that digitizes the signal from the Mags. Suggest you raise a Support Ticket http://line6.com/support/tickets/

The easiest way to completely reset is just to overwrite the firmware, but in the Pilots Guide (you know that book thing as found here http://line6.com/data/6/0a06434d108424fb56396d2871/application/pdf/file.pdf) on page 14 you find: Factory Reset Options If, for some reason, or just for the sheer mad joy of it, you would like to restore the 50* factory settings on the Guitar Model Selector knob or a specific preset or all presets on the Alternate Tuning knob/roller, here’s how you do it. Warning: This will erase ALL settings prescribed within the options below. So be sure to ask yourself “Do I really want to do this?†If the answer is yes, go on ahead with your bad self. *NOTE: Factory reset will not restore the Custom 1 or Custom 2 banks. The only way to restore those is to reload the flash memory via Line 6 Monkey. To reset Guitar Model Selector Set the Pickup Selector Switch to it’s middle position, then press and hold the Guitar Model Selector Knob while you plug in a 1/4†cable to power up the guitar. Your Guitar Model Selector LED and Alternate Tuning LED will both flash red. Next, press and hold the Guitar Model Selector knob again. Guitar Model Selector LED will flash red, rapidly 3 times, indicating all 50 guitar models in the Model Selector knob memory locations are now restored to factory settings. Guitar will now return to normal operation. To Reset one or all of the Alternate Tuning presets First, set the Pickup Selector Switch to it’s middle position, then press and hold the Guitar Model Selector Knob while you plug in a 1/4†cable to power up the guitar. Your Guitar Model Selector LED and Alternate Tuning LED will both flash red. Switch the Alternate Tuning knob/roller to any new position - Guitar Model Select know will no longer be lit. To restore all Alternate Tunings, now select MODEL on the Alternate Tuning knob. To restore only 1 preset, select the desired tuning on the Alternate Tuning knob. Once you’ve made your selection, press and hold the Guitar Model Select knob. Guitar Model Selector knob will flash red, rapidly 3 times, indicating all 10 Alternate Tunings or 1 selected Alternate Tuning are now restored to factory settings. Guitar will now return to normal operation.

The above will get you the result you want assuming a fix mix between the two. The more fundamental problem is that you can't get any output over VDI for Variax Mags and sorry, but I don't understand what is going wrong. Selecting Variax Mags as an Input is all that is needed to get their sound through. The only thing that might be a problem and I'm sure that you have tried this, is to make sure that the volume knob is turned up... ? I know it sounds stupid, but when VDI controlled the Models can sound at full volume because with an HD500 the volume know can be used as an Expression controller. I have quite often given the volume knob a slight twist only to have it almost cut out on me because it was turned all the way down but the models were sounding fine. the tone control seems to do the opposite; the number of times I have struggled with a "dead tone" only to discover that when I had been tweaking an JTV Acoustic and I had forgotten to turn the Tone knob back up again when I switched to electric...

Workbench Pilots Guide page 10: "Magnetics Blend Use the Magnetics Blend control to blend in the magnetic pickups on your JTV guitar with your model. Our magnetic pickups are hardwired to the 5-way/3-way switch in your Variax, so whatever pickups you have selected on your guitar will get blended in here. You could select an Acoustic 12 String model, for example, and mix in your magnetic pickups for a rich electric/acoustic blend. Note: The magnetic pickups on your Variax are not alt tuned by the Variax DSP, so best results can be obtained by blending your magnetics with standard or harmonically compatible tunings only." http://line6.com/data/6/0a06434c5bcd520d3ab6261d4/application/pdf/Workbench%20HD%20Pilot's%20Guide%20-%20English%20(%20Rev%20A%20).pdf

Yes. But more hassle than it is worth and involving a lot more kit. iPad runs remote desktop software (or citrix) connected over WiFi and displaying the screen of a laptop that is actually running HD Edit and connected to the HD via USB. e.g. http://blogs.citrix.com/2010/01/28/do-you-want-to-use-citrix-receiver-to-run-windows-7-from-the-ipad/ Almost anything is possible in IT, the questions is really "how much"

"More than 50 people have looked at this, and obviously none of them had any clue as to why the fault is occurring as nobody replied. " We are virtually all just users of this stuff like you, so when it comes down to erratic behaviour people can only explain it if they have seen it themselves. The fact that from hundreds of thousands of HD users this hasn't been reported before indicates that it is one-off fault on your specific unit not a generic problem. As it doesn't occur when using HD Edit I agree with you, it is probably something going wring with the physical switches. The only thing you can try without opening the unit is an Air Duster or Contact Cleaner (both sprays) as you would use on anything electrical with switches behaving badly. Opening the unit will invalidate the Warranty and if that is still active that is what you need to invoke to get the unit repaired, alternatively if you have only just got it you might be within the Retailers return period and get an immediate replacement. Backup your patches in Edit first so they can simply be restored on a repaired or replacement unit. As I have no idea where in the world you are I can't be more specific. As for tonight, if you rely on something for gigs you must always have a "Plan B" as something will always go wrong with gear - and that is just as true for your old stage rig with lots of fragile cables between pedals and batteries or fragile power leads....

http://playingviolontips.blogspot.co.uk/2012/06/how-to-create-violin-sound-with-guitar.html http://www.guitartricks.com/forum/archive/index.php/t-13343.html

I know it is not the answer wanted, but I just use a real "synth" - well actually my Yamaha Motif XF is more of an advanced "Rompler" as opposed to "Synth" because it uses complex samples as the basis of the sound rather than synthesizing from basic square or sine waves. Have you thought about just getting a cheap second hand keyboard?

Before you do this are you sure that it is not just the audible changes as a result of the wah effect rather than pedal movement. The pedal movement should give a range of control values from 0% to 100% as a controller, and it seems to me that the process above will compromise this. On an HD500 as per page 3.8 and 3.9 in the Advanced Guide if you double press Move you see the Expression Assignment for the effect. This allows you to set the points in the effect parameter range that are equivalent to minimum (heel) and maximum (toe) pedal positions and is how you supposed to make adjustments to the range. So if the Wah effect "does nothing" for the first 30% of movement (actually it is effecting frequencies that are not present) change the Minimum Value to 25% or so to get rid of the "dead space". The Wah effects have a very wide range and depth by default it, so is normal to have to restrict this range down quite a lot and also to reduce the mix in order to get to a usable Wah effect that is more what you might have expected. This is not a flaw of Line 6 modelling the pedals badly, but rather them providing a "super range pedal" that has to adjusted back to being a "normal pedal"

A good bit of advice I found on some thread on TGP about working around FM (applicable for any modeller thru FRFR), was to tweak a full gig volume or even slightly louder, because the worst that happens when you turn down is that it will appear to lose a little bit of top (i.e. become warmer) and some of the low end power. Tweaking at a lower volume and when you turn up the highs can become harsh and fatiguing and the low-end overpowering resulting in a rubbish sound that can disappear in the mix.

" I think that's the only time the Variax modelling ever actually "listens" to the notes you're playing, so it probably assumes you're in standard tuning." It does - you just have to adjust for the altered tuning, so if physically tuned to Eb you need to set Virtual Capo using the 13th fret as the base rather than the 12th

Well if it can be adjusted in real time via workbench how about opening it up to HD500 real time adjustment - anyone for sliding the pickup up and down the body using an expression pedal?

Android? :ph34r:

"Any way to run Workbench from my iPad?" The technically correct answer is Yes... but how practical it is to use and whether it is really worth the bother is a completely different question. https://itunes.apple.com/gb/app/microsoft-remote-desktop/id714464092?mt=8 You will need a Laptop with Wifi that actually runs Workbench (or Mac) and to set up a Wifi network between Tablet and Laptop. Plus Laptop to HD500 USB or other connection to the JTV. Then use the Remote Desktop App to control the Workbench software actually running on the Laptop.

Nice post Palico The band I was with already had to work very hard not to overlap as there was a lot going on: Lead Vocals + 2 Backing Vocals, Lead Guitar, Keyboards, Bass + Bass Pedals and me playing guitar or keyboards or both depending on song. We didn't have overlapping parts but there is not a lot of space left - and that is where part of the problem comes from, as to fit into the mix when we all played required different treatment from when by yourself and there were quite a few bits like that. And we didn't have a dedicated sound man to sort it out and a venue soundman wouldn't have a chance to react. So my acoustic guitar (JTV simulated 12 string) playing Wish You Were Here had to be really full because it was the only instrument sounding, but then in another song like First of Fifth it had to just be background "texture" something that you don't specifically listen to, but would miss if not there. I actually added an EQ effect that I would switch out when solo and in when the whole band came in to avoid a lot of the clash especially in the bass frequencies. I am making progress as I finally got some speaker stands yesterday and between getting the tweeter up to ear level and disconnecting with the floor (plus a lot closer to my ears) the change in sound is massive; all that overpowering bass is gone - for £20 a stand I wish I had done this while that band was still together. I am determined to sort out the on stage reinforcement and patch programming before getting into another band. Soo... as and when I get "Loud Time" it is back to recreating my patches

"Finally, I'd like the tuner to be assignable to the AUX or MIC inputs (as well as GUITAR). I plug other instruments into those." Tuner is linked to Input 1 so can be assigned to any of these, so I assume you have Input 1 linked to Guitar only. It would be nice however if you could configure it to work on 1, 2 or both.

"Will it help if I use the full models of the amp instead of pre and tweak the DEP? I cannot add a compressor as my effect blocks are all used already." Maybe. Full Model includes the power amp which will potentially compress and add back the missing "punch", but it can also introduce power amp distortion which has similarly been faithfully modelled. And it will use more DSP which might be a problem if you are using all 8 FX blocks.

I can relate to this because I am also having this sort of problem, as I expect are many others who are using powered PA speakers thinking they are "FRFR". The problem is quite simply that the lower-end powered PA speakers are intended to be "flattering" for vocals and full range signals - they are designed for DJ use, and by lower-end I mean pretty much anything sub £1000 per speaker. I real terms while fairly full range (realistically 50 - 18K) they are simply not flat and often have peaks around 250 for punchy bass/kick and around 2.5K or higher for vocal clarity - mine as I was measuring using a RTA app and pink noise also appears to have a peak around 4.5K. So the speaker is boosting the bass so you clash with the bass player and emphasises the high ranges over the mid-range meaning that distorted sounds are weak and thin. If you combine this with the fact that they were intended primarily to be mounted on poles and we HD users typically place them on the floor where the Amp used to be or in front of us as a "monitor" so there is an additional factor of bass being reinforced through contact with the floor, plus they have a wide dispersion pattern when we are used to having a beam pattern from a guitar cab. It is no wonder that they don't work properly when combined with an HD500 that is intended to output a studio full-range signal ready to be post processed into a mix. If Line 6 had introduced them earlier I would have got a Stage Source which specifically addresses a lot of these issues and even has a Guitar Cab mode where the tweater is suppressed, but it wasn't around at the time I committed my money and I am not is a position to replace what I did get. You do have the tools to get a great sound, once you understand where the problem is, and that is to EQ to correct for the realities of using a PA speaker and deficiencies in the speaker. Line 6 haven't helped much and the biggest omission for the standalone powered speaker user is the oft requested "Global EQ", because if you have 25 patches you need to use in a gig and for whatever reason your speaker is triggering a resonance on the low F then there is absolutely nothing they provide that can sort it out. I don't have all the answers yet because I am still working it out while She Who Must be Obeyed is imposing a spending ban for "toys". Which is a right pain. A few things that do help: The Cab DEP Low Cut parameter appears to provide a 12db/octave cut which is not that steep, so you can set it a lot higher than you might think and make up the bass level using the Amp bass control which for quite a long time I thought was a complete waste of time because any value over 0 was just mud. As said above it doesn't do anything much set low down at 80 for example (low E = 80hz), you need to raise it much higher - as high as 250hz (it goes all the way up to 500hz which should tell you something). Have a listen to guitar in isolation in many Rock songs specifically listening for the amount of bass on the guitar, and in a lot of cases you will find there just isn't any The fizzy high-end is another story - but dramatic changes to the Cab DEP can make some difference here; try turning Resonance down to zero on distorted patches; you don't need it so much live because your speaker will be resonating by itself (and thumping..); you might find that a lot of the fizz disappears. You can also try mid focus eq late in the chain to tame both top and bottom end, but the problem is not necessarily easily addressed using HD EQs because what you are fighting is the higher end emphasis deliberately built into the powered speaker, and the end result of using the HD EQs is that you have a dead sound because you have cut so much high-end out while you still have that nasty peak at 4.5K which the speaker is giving you. But you really don't want to set up your HD patches to compensate for the speaker, because then you have to sent a compromised signal to FOH. What you really want is that perfect FRFR you (or at least I) thought I was buying. So limit the problems by experimenting with position - like using speaker stands so that the bass resonances are minimised and the speaker can be placed a lot closer to your ears. I had problems where the rest of the band said I was too loud while I couldn't hear myself at all which was partially down to dispersion from the speaker being so wide relative to normal guitar amp that you stand right in front of, so get your ears right in the line of your speaker. If you are placing the speakers on the floor as a monitor make sure it points right at you, and try isolating it from the floor in some way using underlay or carpet. Also beware placing it too close to a wall and especially corner because that can reinforce the low end. The stage where I am at is trying to compensate for the higher-end emphasis points without compromising the FOH feed or wired In Ears which I have tried. The only option is to have an external EQ that will correct for the corrections built into the speaker plus any nasty room artefacts that every room has somewhere. If it wasn't for the spending ban I was all for getting a DEQ2496 just to correct the speaker (it has an automatic EQ option when used with a reference mic to correct for speaker "features"), but once you start doing such a correction you discover that actually the boomy bass you spent so much time cutting out wasn't the HD500 or the powered speaker at all, but was really a Room resonance. In the face of the tight budget such an EQ is not allowed to I am experimenting with plan B - that is using a laptop linked post HD processing, but pre output via the USB link (with real-time monitoring at zero) and a VST host in which an EQ VST can do the job. It works but at the cost of about 12ms latency which I can live with - the 24ms I had before I tweaked the ASIO driver settings was too long for me to play using. This is the point that I am up to, but due to house guests and other family stuff I haven't been able to work on it at a sensible volume to find those problem frequencies with the PA Speaker. And because I have now learned a lot more about speaker issues I am now starting to doubt what is speaker, HD and what is room.... arrrgh!

"I cranked the mixer +9dB but it doesn't sound the same. Less thump or bass, or whatever. Less low punch I guess." Most likely less compression because you are no longer overloading those post-amp effects. You could add a compressor to the end of the chain before the moxer

There was a couple of discussions about integrating the two before http://line6.com/supportarchivenew/thread/89945 http://uk.line6.com/supportarchivenew/thread/55337 The good news is that for what you want you are OK. The HD500 doesn't send a tempo change that the M9 would recognise, but you can program the tap tempo button: From phil_m in the second of those threads: "The M9 can receive MIDI clock, but not send it. The HD500 does neither. Anyway, though, you can assign the correct CC# to the tap tempo switch on the HD500 and send that to the M9. This would sync the M9 whenever you actually tap a tempo on the HD500. CC#64 is what you need to send from the HD500 to the M9. The HD500 Advanced Guide explains how to do this on page B-4." So set the M9 to listen to a different MIDI channel to the global channel on the HD (so that program change are ignored), then program the hd tap-tempo to sent CC#64 on the channel that the M9 listens to. The bad news is that you will need to set this up separately for every HD patch.

Either Epic or Elektrik was the "broken" version of Treadplate or something like that. My memory is not what it used to be and it is tricky thing to search for, but way back in early firmware versions Line 6 discovered a few problems with a load of parameters for one of the high gain models and corrected it back to how it was supposed to be. Unfortunately some people had really liked the broken version and insisted that they wanted it back. Line 6 complied by adding the broken version as a new model. Who says they don't listen? :)

Also worth knowing is that with one of the recent firmware updates, the requested Bank Change feature appears to be implemented* By this I mean that selecting a JTV Model using an HD500 will change the Bank on the JTV so that moving the pickup selector on the JTV will select other Models in that Bank no matter what the Bank Knob says is selected So even though you have say "Lester" selected on the Bank Knob if you select Acoustic-1 via the HD500 moving the pickup selector will select other Acoustic Bank Models - including the 12 strings, * I say "appears" because it wasn't included in any Release Notes. It had been requested so that when you switched to say Spank you automatically had the other Pickup options available without having to worry about the Bank knob. Very important if you change pickup positions during solos - previously it would respect the Bank position when you switched pickups meaning that unless you were very careful you could go from Spank-4 to Acoustic-5 which can ruin at least the feel of a solo. It is worth testing your rig to see how it behaves