Rewolf48

Heavier strings pull the bridge up and forwards, lighter strings don't pull as hard and bridge goes down and back It needs to be adjusted for otherwise your intonation will be shot, strings will sit too high/low, fret buzzing... You need to remove the big plate in the middle of the back of the guitar, then with a big cross head screwdriver tighten the screws that attach the spring claw to the body if you have heavier strings, or slacken them if you have lighter strings. How much? It depends on lots of other factors, but the simplest target it to get the Trem back into the position it was in before you changed the gauge. This is standard trem set-up and applies to any trem equipped guitar. This document covers an awful lot more related to setup of the JTV-69 Trem - photo on top of page 7 shows the springs, claw and the two screws. https://www.cx.com/0/io/hotlink/YPIXs8oREeOMhyICCluF4w/Tyler_Variax_JTV-69_Tremolo_Setup_111030.pdf [won't even start about whether the claw should be parallel to the body or tighter on the bass side.. :ph34r: ]

Simplest option it to use a universal USB MIDI interface - dirt cheap. I have had some success on a PC and it says MacOS is supported: http://www.amazon.co.uk/Adapter-USB-to-Midi-In-Out/dp/B000XRI3CC I was using it to trigger VSTi. But the set-up does get a bit messy, and more prone to failure live. My solution was to buy a better keyboard (Motif XF) that could by itself make all of the sounds I was getting from VSTi... No Computer or MIDI Interface required: much simpler. I will admit that a MIDI interface for a few £ is very cheap, and a Motif is not (even used), but the laptop isn't that cheap either and is not necessarily designed for life on the stage.

The problem with set list based mapping is that if the MIDI master device has say 10 patches that want to use the same HD patch, and then if you need to tweak that patch - for example to make a change to the EQ (.... Global EQ....) Then it is a rather drawn out process to copy the modified patch to the other 9 locations, and then when testing you find you need to tweak again... What should be a few seconds in dragging into minutes, and if this is between songs while live?

Igloo has the best answer. Fact 1: HD500 has no ability to map MIDI Patch Changes. Fact 2: Source of MIDI Patch Changes cannot be changed Solution A: working with available equipment is to create a Set List that locates the required patches where they are expected to be Solution B: adding additional hardware - another device does the MIDI Mapping... e.g. general computing device (Laptop, iPad, ...) or a dedicated MIDI Mapping Device is programmed for this specific set of requirements. I would go with Solution A every time. And request that Line 6 add what is a really simple requirement of Incoming MIDI Mapping to the features of the HD Pods or their replacements And request that Line 6 supports MIDI over USB so that the Pod can act as a MIDI Interface for a PC

RIBluest, Impulse Response + Convolution adds a "listening environment" to a signal, it is about superimposing the sound of say a Cathedral onto a miced up choir so that it sounds as if you are listening to them in that Cathedral. The really good ones allow you to use a reference mic and measurement software to set-up various filters and the cancel out as much is possible of the room you are listening in... but it cannot be eliminated completely even with perfect processing and inverted signals to cancel out reflections it is still only accurate at the exact position where that reference mic was located and for exactly the same arrangement of things in the room. "Amp In The Room" (AITR) is about having it sound as though that choir is singing in person in the room with you. It means removing all of the filtering inherent in the microphone, pre-amp, ADC and reproduction stages, plus the ambience that was present in that room when they recorded (which actually changed as they moved around!). The room ambience is made up for in the AITR situation because you are listening in a room - it is about it sounding as if someone had shifted that 2 x 4 x 12 stack into the room. Except that when you do a patch change it sounds like the Blackface Face twin instantly replaced it. But it is an impossible dream - to start with guitar cabs are really directional and the sound on axis is very different to the off axis sound (which is why many amateur guitarists that tweak sound off-axis really sound like rubbish) and your FRFR solution is designed to give an accurate sound over a wide dispersion pattern. As you say if you decide that you must have an AITR sound/feel then the compromise is that you select Cab that you like and stick to it using that DT or whatever. Billorentzens post has just appeared, and yes the use of reference mic and anechoic chamber is the best compromise that can be achieved for AITR when using FRFR. And is what I thought that Igloo was suggesting yesterday. Probably sound weird in headphones without any room ambience, but that is what reverb is for.

No you are talking about the opposite requirement. The Sound Field DSP logic is taking a "pure" signal and treating it to sound as if you were in a specific environment (or something like it). It is a combination of filtering, phasing and delays and is actually implemented using Impulse Response and Convolution. The true "No Mic" option means that your FRFR system will sound exactly the same as if the real cab was sitting in the room, rather than the signal from a microphone against that cab. The holy grail of a modeller for Live use is that it sounds as if the Amp was there rather than being miced up and reproduced on studio monitors. Of course the audience has only ever heard the miced version, it is only the guitarist who wants the Amp In The Room sound. Even the Axe-FX is criticised because it cannot do Amp In The Room. Theoretically it is possible to get an Impulse response that does represent just a cabinet, but it is not very practical because you need to cancel out the microphone used to measure the response of the cab. Which is reverse convolution and is a supercomputer sort of thing. If not a Power Soak device the other option is to use a calibrated "reference mic" in an anechoic chamber (no room). But from the realist perspective if you really need that Cab In The Room sound ... then get a Cab and stick it in the room. DT series or power amp and cab combination. Personally I find I can get acceptable by turning down things in the Deep Editing Parameters especially Master Volume, E.R. and Resonance. I know it makes the cab simulation more "dead", but that is the point, because the FRFR is still a speaker in the room.

There was a big discussion about this in order to get the Cab In The Room sound on the old forum. Of course I can't find it now The conclusion at that time was that it wasn't possible because (as above) it had to be measurable, and the measurement is from the Mic. I thought at the time that I had suggested (and if I didn't I am suggesting it now) that the signal from a Power Soak or Speaker Simulator would be a proxy that didn't require a Microphone. I am talking about a quality device such as "THD Hot Plate" or a Palmer Speaker Simulator.

And if that is not enough you could string as many HD ProX together as you have rack space for (S/PDIF out to S/PDIF in). B) [or buy an AxeFX-II XL :ph34r:]

Some classic sounds didn't use a guitar amp at all, and would deliberately clip the pre-amp to get the right sound. Then is there is the Rolling Stones on Jumping Jack Flash where Acoustics had a mic shoved in the soundhole then fed through the preamp of a Phillips Tape recorder and out to the speaker which was then miked and recorded. Or Gary Moore's solo sound on Sarah where it was just a distortion pedal direct into the desk (I heard this on a radio interview say that Toni Visconti the producer wanted this).

"I learned this from Will Ray of the Hellecasters who wrote a great article about how we guitar players do not know how to manage midrange frequencies. My modelling adventure has been a lot better since I started following his advice." Link?

I haven't had any Audio problems with Reaper and an HD500 on Windows 8 - just select the ASIO Driver for the Pod in the Reaper preferences for Audio Input and Output, assuming that you have the Driver loaded (see Monkey). If you are trying to send MIDI data from Reaper to the HD500 using USB, then it isn't going to work. The POD HD doesn't accept (or send) MIDI over USB or pass through to the physical MIDI Ports. If you need Reaper to send MIDI to the HD you need a MIDI interface on the PC (one of those dirt cheap USB MIDI cable things works fine) and connect it the HD as if was a MIDI controlled module. There is (or can be) what looks like a MIDI Device for the HD listed, but it isn't what it appears to be (a general purpose MIDI Port) but instead it can only be used internally Line 6 Software only such as HD Edit and HD Workbench to tweak patches on the HD and/or JTV

I haven't seen an Amplifi either - sorry Line 6 but without Android support for simple patch editing we just bought my eldest a Roland Micro Cube GX as her first Amp to learn on when I could have persuaded my Wife that the extra cash for an Amplifi was worth it. What I would like to see from a new version of HD Edit would perhaps be something on the lines of M20D interface where X/Y Pads control multiple parameters at the same time - especially around the Amp Deep Editing Parameters. The ability to save, recall, copy and paste specific Object settings would also be very good - for example I finally worked out that to get rid of the muddy bottom end on many Amps the Low End Cut off needs to be raised a lot higher than I had tried before; up to 250 Hz and even higher - previously I had only raised it to around 80 HZ because that seemed logical because I didn't want to cut Bottom E, and I need to Cut Resonance as well to tame the high-end fizz. Being able to recall a copy of the Amp with this already done would save a lot of time. The biggest improvement of all that doesn't seems as if it should be too difficult would be the ability to split Pre Amp, Power Amp and Cab into separate blocks and then connect them as required for simple Dual Cab and Custom Amp designs

And now they have been fixed. At least I lollypopume they have been ;)

Hope so - found a few others. "A passable attempt and a classic rock sound through FRFR"

Hey Igloo, can you give some feedback to whoever controls the "filters" on the site because the "lollypop" thing is causing the meaning of messages to become quite hard to understand. For example "A s s i g n e d" when used perfectly correctly is being lollypopped: "I have the footswitch 1 assigned to a compressor"

1. When performing, how do you select tones? C One to four presets for the entire set, and A, B, C, and D represent four primary tones (example: clean, overdrive, high gain, solo lead) Bank A is the main sounds (with JTV switching): 12 String, 6 String, Clean/Crunch, Distorted Bank B onwards is for odd ones (only just into C) - Songs with alternate tunings or different from the main bank sounds All of the Banks have a variety of effects on them that I switch in an out as required (FS 1-8 Mode). It is not that big a deal to press the up or down button to jump between presets, but most sound changes are just effect on/off 2. Which one of the following best represents preset management before a gig? B Little to no management; preset order is independent of the set's song order Set lists change right up to the... well the song starts (we do have a plan, but you have to be prepared for it to change). Only have 10 Live presets anyway 3. How (if at all) do you use Setlists? C I pretty much stay within the same Setlist of 64 presets I play into FRFR and keep within a single Setlist all the time. When building a new/replacement patch I just switch to the next bank with an unused preset and work on that.

I have been troubled with this (as above) and since upgrading firmware wasn't getting great sounds - especially the acoustics that I had to lower the global string levels for in an earlier firmware release - my working Acoustic patches had all sorts of compression, eq and reverb on them to bring it to life while others were saying no effects needed at all. I decided that the firmware really cannot be that bad if loads of people are not complaining, so perhaps something that I did in combination with firmware updates has caused a problem; and I decided to play around with the serious intention of getting the JTV working as it should. First I tweaked the physical set-up a bit to return it to factory - I had previously lowered the pickups a bit so I raised them back up again, and I had the trem springs slightly over tight, so I slackened them off so that the plate is tilted slightly towards the neck. Didn't really make any difference, but it should potentially have added some magnetic damping to the strings and reduced a bit the pressure on the piezos. It didn't seem to make much difference - still not happy. Open Workbench HD. Global String Levels. These had been adjusted when an earlier firmware had made the acoustics appear over loud and compressed with no dynamics at all, and again when I change to 11s. Subsequent firmware updates appeared to have retained the settings and had adjusted from that position with later firmware upgrades and this quiet top strings problem. Deciding that I might as well go back to the beginning with them I simply pulled them all back up to 100%... What the Lollypop!?! JTV comes to life - the acoustics that I had expected to be the same over-compressed mess were nothing of the sort and with no effects they were exactly what they should be. The other guitars seemed good too, but to make sure that everything was reset I reloaded my backup of the factory bundle. And it is like having a completely new set-up. Before somebody points out that just raising the levels to make it all louder can give this effect - I know this is the case and allowed for it. And the Strats? The top two strings are very slightly quieter than the others in the same way they are on a real Strat because of the narrower string gauge, but not the significant and unplayable lower level they had been before that had required major level adjustments to the patches. My thoughts are tending towards something relating to Global String Levels adjustments not being quite as compatible across firmware updates as they appeared to be, and for others with this problem - can I suggest you try the same; don't just tweak carried-over GSL settings, but reset them all to 100% and see what happens. Worst case is that you can restore them back to where they were, but it might be turn out to be unnecessary.

So to summarise Jay says all that is need for a decent Cab (as opposed to Room) is 20ms. Assuming that internally HD POD processes at 96Kb/sec then 20ms is 1920. Which Igloo says will take about 50% processor, meaning that assuming you have an Amp as well that there is very little left for anything else. Early Axe FX was apparently 512pt IRs, but appears to have been at 48K because that translated to 10ms and the difference between 512 and 1024 (10ms and 20ms) was "subtle but reliably detectable" and apparently enough that later Axe FX got support for even bigger ones that allowed for more "room". But to get those working on even the AxeFX involved data reduction techniques and heavy filtering of the longer tails - and the Axe FX has a lot more processing power than an HD. I am getting the impression that if Line 6 adds this that either audio quality will be compromised or the overall amp+effects chain very limited

Spock's Beard - Ted Leonard used a Black JTV 59 Not the best example being a hand-held audience vid...

Or it might just be that those who so vocally wanted IRs have given up and are no longer so active on the L6 forums because they have found alternative solutions such as KPA. The original threads I have found are back in 2011 which is an absolute age. I still struggle with a fizzy high-end and a boomy bottom and all attempts at containing these seem to end up perversely thin but still muddy sound - I am talking about live through an reasonable quality FRFR solution as backline and which I put down to my ignorance of how to use EQ effectively and the limited scope of adjustment on the FRFR. Give me a global graphic EQ so I can quickly tune all presets + FRFR to suit a room before the IR support. But that might just be down to my lack of understanding about what you can do with an IR - it must be said that most people who are demoing HD + IR videos seem to be into Metal which isn't really my cup of tea. [i am gassing for 2 x L2t, which you released after I bought my FRFR, but money for hobies is tight at the moment :( ]

I haven't tried rolling back - I'm on the latest version but from playing around last night Ed is definitely right - it happens on all the models, it is just that the Strat and Tele models show the difference more than the others. I already had Global String Volume changes set-up before the upgrade that seemed to carry over so I am going to have a play with the Global String Volumes again before mucking around with the individual patches. I would expect that the thinner strings will produce less of a signal from the piezos as the output is based on mechanical force, and I wonder if this latest firmware version reduces compression in order to get more dynamics, and therefore exposes the imbalance in levels more.

No. Unless something has changed the HD doesn't support MIDI over USB. Your Computer might see a MIDI device for the Pod HD, but it can't do anything with it. If you want to send MIDI messages you have to connect the MIDI ports on the HD to the Computer using some other MIDI interface.

I got the same result too - JTV set to Acoustic Bank and I was able to switch between the sounds in my "PRS 89" Bank that I am working on without difficulty having used the HD to go from Acoustic to the electric patches. Also worked with a present that jumps to the Strat bank. Brilliant! "PRS 89" is neutral body with 89 pickups for Neck and Bridge and I am experimenting with some of the combinations from here https://www.prsguitars.com/csc/switching.html - getting a nice sound from a pair of single strat single coils in the inside-tapped positions. I could never be bothered with Workbench HD before because of all the swapping around of cables.

I need to check this too - I saw this happen with Workbench HD open last night while updating some models, but didn't expect it to happen with just HD500 as it was a feature that has been requested and wasn't mentioned in any release notes for the last set of updates. It was requested because it should be possible to patch change using HD500 and then switch pickups within the Bank e.g. Les Paul or Strat pickup changes without having to double check the Model knob position. Doesn't sound so good if you haven't double checked and rather than going to LP Bridge you get an acoustic. Some people were able to get this with the previous set of updates, but I unfortunately wasn't one of them, and they weren't able to keep it either through a firmware refresh so it might just be an indication that the firmware hasn't "taken" properly - Line 6 seem to recommend updating the JTV firmware at least twice according to technical support notes, but why this is the case is not quite clear.

Vista is version number 6.0 Windows 7 is version number 6.1 Windows 8 is version 6.2 Windows 8.1 is version 6.3 Which implies: a ) that at the underlying OS level there is little difference between any of them and software will generally be compatible b ) Windows 8.1 is a much more significant change over Windows 8 than Microsoft want you to believe otherwise they would have used a Fixpack