ColonelForbin

the Line6 link carries six channels of audio/data. Two mains (left, right) and four monitor mixes-, in that sense, I think your 'horizontal' limit is four (monitors) though the main total is something like 8 subs and 8 mains?> I have the L3t/m mini-manual in my car, and it has a chart about the auto configurations that occur based on the number of L3s and vertical L3t/m speakers that are combine. I will check to see what the max number it indicates for vertical L3t/m and L3s. Edit: It's nine, as groovedggr said; I think they go for the extra 'mono center', so with a full left right equal match, you can add one more in the middle! I am looking at adding a single sub; with two L3m vertical, according to that chart, the sub would need to be the after the first L3m, before the second L3m. Can be before or after the monitor chain. So the sub gets the sum of the L/R. If you have two subs and multiple mains, I think you link to the first sub first, then to the L3t/m.. It can be re-assigned also using the M20d, but I guess it's good to know how to anticipate what it will do if you

Yes! I must say, the L2 are essential to the complete rig, they work great as both monitors for a bigger rig, or mains for a smaller rig. I have two L2t's now; at some point wouldn't mind adding one or two more L2, probably L2m - just for additional stage monitor mixes. I typically use the M20d, run everything through that to also be able to multitrack record; though I went with L2t's for that odd situation where I use them standalone sans mixer, or as a stage amp for HD500 or acoustic guitar, etc. I just added a pair of L3m (from this sale) to round out the PA for my band. Brought them home last night! Definitely heavy, but I like the shape; being slim and tall like that makes them easier to hold with the handle in one hand if needed, and they hang closer to the body; and you can use the lip at the top as a second grab point. For a 57 pound speaker, not light -but definitely transport friendly!

AMS (same company as Zzounds) says in stock, ships today. http://www.americanmusical.com/Item--i-LIN-FIREHAWKFX Edit... Zzound's still says one in stock, AMS now says pre-order for 4/19

Zzounds says they have only one in stock, strange.. http://www.zzounds.com/item--LINFIREHAWKFX ONLY 1 LEFT! Ships Today

less gain, more amp models! try to use dual amp models, dial back the gain, turn up volume, and on one copy of the amp model change the cab to the Hiwatt 4x10. Also, I find a very interesting sound can be made using a JTV, but setting up dual amp models, and splitting the VDI, by sending variax mags to one amp model, and variax models to the other amp model. If you pan them hard, it creates a cool thick almost chorus like sound; if you pan them less hard, it sort of congeals a bit more; just thickens up. Especially doing similar or complementary amp and guitar model tones. So, two copies of the same amp model, with maybe different cabs, and one gets the mags - and only the mags, The other gets the models, which since you can change them, you can do subtle tonal shifts but changing around the amp models. For extreme / weird tones, try blending the sitar through high gain, paired with the mags. Wild..

Definitely The Grateful Dead! My guess would be, if only one drum kit, then it is during the time Mickey left the band after his Dad, Lenny Hart ripped the band off for a large amount of $$$.... Eventually they reunited with Mickey, but stuff like Europe '72 was all Kreutzmann. Gotta love descriptions that start off like this!! "After Owsley "Bear" Stanley got out of prison in late 1972, he, Dan Healy and Mark Raizene of the Grateful Dead's sound crew, in collaboration with Ron Wickersham, Rick Turner, and John Curl of Alembic combined six independent sound systems using eleven separate channels, in an effort to deliver high-quality sound to audiences. Vocals, lead guitar, rhythm guitar, and piano each had their own channel and set of speakers. Phil Lesh's bass was piped through a quadraphonicencoder that sent signals from each of the four strings to a separate channel and set of speakers for each string. Another channel amplified the bass drum, and two more channels carried the snares, tom-toms, and cymbals. Because each speaker carried just one instrument or vocalist, the sound was exceptionally clear and free of intermodulation distortion."

What Phil said! Took me a while to get used to the 59 switch. On the 59, you have a three way switch, with the push button alt tuning alternating the three way switch selection. As two sets of three make 6, and there are only 5 total, the center position is usually a duplicate.

Yes! I also bought mine from Sweetwater - the added two year warranty is 100% totally worth it. Mine started acting weird after the 30 days, but Sweetwater just replaced it for me, and the new one has been flawless. I started with the M20d and a pair of L2t's for my band to use while rehearsing - we mic'd up the drums and everything so we could practice while also doing multi track recording. We're getting near done with our five song EP, so I just added the pair of L3m for when we do gigs this summer!

I think I got my M20d case from Zzounds; and +1 to that, it's a nice case, perfect fit. .They also stock the plastic cover - which has come in quite handy.. http://www.zzounds.com/item--LINM20DBAG http://www.zzounds.com/item--LINM20DDUST

I just spent the day playing with the gear at home, and I tried out a few different combinations of things. Mostly just did these HD500x direct no-FX looper jams, to test out some tones. Tried to keep it simple, just focused on dialing in some good amp tones. Later in the sequence I shift to an analog pedalboard connected to a DT25 head and cab rig. That recording signal is the XLR out from the DT25 panned to one side, and a Shure Beta 57 on the cab, panned the other way. I used Pro Tools to assemble it into a mix, and boosted the levels with a compressor plugin. Same template on all mixes. Also did some reso / acoustic jams with the JTV going direct through the HD500 to the recording. Just a bunch of noodling, some cool tones, a few inspired moments. All in all, a well spent afternoon on one of my days off. Capped it off heading to the studio to hang out while they worked on some vocals for the tracks. New bass parts are sounding sweet! Hence the random doodly jams I did, nothing for me to do in the studio at the moment, so digging having the gear at home. Cheers! [Looper Jams w/ HD500, JTV59 and DT25 ; recorded with M20d, mixed with Pro Tools 11] https://soundcloud.com/the-new-mother-earth-band/sets/looper-jams-2015-04-07

The issue crusinon2 mentioned is the same thing for me; I am using the JTV vdi connection. I did mess with a bunch of different ways to combine guitar with analog effects and get them into the POD. In the end, I stuck with the JTV VDI connection, and spent some time programming the wahs to sound better. Try this: start with a wah model in the HD500, and an amp model. Get a wah that is close to what you want, then adjust the values at the toe down and toe up positions. See if you can dial in some smoother wah tones that what you get with the 'stock' wah settings. As for outboard wahs, I also still run an analog pedalboard, which currently has a non-true bypass Vox wah on it. My solution for now has been to route the Vox wah through a Keeely fx looper 'true bypas' pedal. It's this tiny little pedal that let's me toggle the wah in/out of the signal chain without using the wah toe switch. Which is cool, you can set the wah to a 'cocked wah' sound, and use the Keeley footswitch as just an on/off to the wah. But I would like to upgrade that at some point, get a Fulltone or something nice. With my JTV-HD500-DT25 rig, I use both the mags and models from the JTV, and I split them into two amp models, and basically create two version of the signal path, including two wahs. I set the FS controls to be 1-8 rather than with the A-B-C-D patch change. I make the top two center FS (2 and 3 I think) control the wah on/off, and I make the wah's both control with the same EXP pedal. Typically I don't make the onboard EXP pedal the volume pedal, because I kept hitting it with my feet when I did tap tempo. Anyway, two wahs at the same time, using different wah models can sound cool, and I also dig the parallel sound, when I have one wah on, and one off.

It's got me confused; they don't list the new Roland JC120 model in the 'HD' section of the amp model list, but they list a couple variations of the JC120 in the regular amp model list!~ 1987 Jazz Clean Based on* a Roland® JC-120, the transistor amp known for a strident clean sound and built-in stereo chorus. Line 6 21st Century Clean We grafted the preamp and tone stack of a JC120 (Roland’s popular “Jazz Chorus†combo) onto the power amp and transformer of a classic Marshall® JTM- 45 tube head. Or this one, where the image next to is an L2 speaker! lol - still waiting for this on in the HD500 series so I can use JTV acoustic models with a DT amp...Mostly given that up for a lost cause, but I always retain hope! Line 6 Variax Acoustic This model was created to allow Variax acoustic models to sound as full-range as possible through the speakers of typical guitar amps.

The list of amps and FX for the Firehawk is pretty impressive! Reminds me of why I bought my X3L; it felt like an entire library of amps, fx and routing options. Psyched to hear the reports on it! http://line6.com/data/6/0a06439c36d454ebd5077a5a3/file/pdf/firehawk-amp-models.pdf http://line6.com/data/6/0a06439c36fe54ebd52c487eb/file/pdf/firehawk-effects-models.pdf

I should be able to test this tonight, will report back!

http://www.sweetwater.com/store/detail/SSL3M $699 http://www.sweetwater.com/store/detail/SSL3T $799 http://www.sweetwater.com/store/detail/SSL3S $899 http://www.zzounds.com/item--LINSTAGESOURCL3M $699 http://www.zzounds.com/item--LINSTAGESOURCL3T $799 They did this last year; but just for a short term.. Looks like Sweetwater is until end of April. That sub price is still a bit steep, I'd like to find one used or floor demo for a couple hundred less..

Ok, here's an idea, which I doubt will work, since the DT doesn't update via Monkey or any type of license manager.. For people who own / register their HD500, or 500x, who buy the model packs, and own DT amps, make those model packs with preamp only version available to be uploaded standalone.. :) Yeah, I know, asking a bit much there! But I agree, I would really like to hear how some of these new models sound with just the DT.. It's a great sounding amp without the POD, indeed. Would sound killer to use the new 5150 and JCM800 on a DT50!!! But next time I to set up my rig at home, I am planning to do some 'new model pack as linked to DT, using the DT's XLR out' recordings Would actually be a cool test to do recordings of the new amp models via studio/direct, vs the new amp models as linked to the DT. IE, compare what they modeled for power amp response, vs what they paired in the DT, in terms of the typology settings for the power amp.

Interesting! The Firehawk is priced $50 less than the HD500x here in the States. As for your question, I can't answer, but can point you in a direction to some additional research; In a word, will you ever anticipate using the Line6Link feature that is on the HD500x, but not on the Firehawk? To answer that question, more specifically, any chance you would buy a DT25 or DT50 amp and/or an L2 or L3 speaker rig? Especially the DT; the link feature between the DT amps and the HD500x is definitely more involved than with the L2/L3 speakers - though you can save the L2/L3 speaker modes to the HD500x. The DT amps actually reconfigure themselves when linked, in a way that no other rig does.. And it's specific to the HD500x, using the Line6 Link.. Something to consider, since Firehawk is not yet out! Especially if you can try an HD500x used, linked to a DT - that would give you a better sense of what you want out it. Many, many folks are not going the 'L6Link route, which means that the DT and even the HD500 or HD500x are not a requirement. I am curious to know if they upgraded the FX on the Firehawk; I was under the impression they were using the same basic HD and M class FX from the HD500 series, just reconfigured to remove certain features and add others. Wasn't aware they were also updating the FX quality - I would be surprised if they did, other than possibly convert them to a new architecture which may take advantage of certain sonic improvements not in the HD500x. Curious to know the answer to that question! The HD500 fX are good, as are the M13 / M9, etc. But some are lacking, so any improvements are always welcome! I just read through the Firehawk FX List; and they seem to indicate 'HD' FX models as referring to the HD500 / M13 / M9, near as I can tell. Then anything that isn't referred to as "HD" is from the XT / X3 / PodFarm era. I am thinking it's the same for the Firehawk Amp List; they mark the HD models, vs the XT / PodFarm ,etc models. Here's one Firehawk model that is odd they omitted from the HD500x series! Funny, they show a picture of an L2 / L3 style speaker next to the description.. Line 6 Variax Acoustic: This model was created to allow Variax acoustic models to sound as full-range as possible through the speakers of typical guitar amps.

"Cali Tread" Based on "2001 Mesa Boogie® Dual Rectifier Solo", is referenced in the HD Edit software and on the HD500 & HD500x as "Treadplate" "Treadplate" is the full amp model version "Treadplate Pre" is the preamp only version (typically for use with the DT25 and DT50 amplifiers)

Hahaha! Nice!!!! That is an awesome lineup of speakers!!! :) Are you using the M20d to link all of that? I like the idea of pole mounting the L3 mains to the L3 subs; but I am still gun shy with the size and weight of the L3s. Does it link / function properly to use just one L3s ?

Yes! The mags sound great! I've got a JTV59, love it also. I have lately been experimenting with splitting the variax mags and the variax models going to the HD500, and routing them through two amp models, and in some case, through two different amps. I LOVE The sound of the mags 'always on', but on it's own set of FX. The pairing together is really nice; I do like pairing the lester models with the actual mags. Divided up it gives you some fine tuning volume and tone control, and merged back sounds stellar! Big, wide open, full, just enough subtle difference between the two sounds that they just make an awesome pairing. You kinda have to keep them similar in voicing; too clean pairing with too crunchy / saturated and it sounds a little off. But a pair of ripping lead tones, or clean tones, or crunchy rhythms - you get the idea. I do like being more cosmic with one side while being more simple with the other - primarily in terms of post FX. I also like dual wah pedals, so you turn on the wah for only the mag signal, or only the models. Very cool parallel wah thing. And if you turn them both on to tweak with the single EXP pedal you can get some wild tones - use two different wah models, the overlaps are quite unique.

Excellent explanation!!!!!!

Depends; If you are looking for a specific amplifier pairing to go with the HD500; the DT is hard to beat! If you are looking for an awesome amp regardless of use with the HD500; other options may have more to offer. This presumes that you want to retain the 'guitar amp' vibe, vs the studio direct / full range option. I like that approach personally; just made it sound right to me when I was jamming with my band. I know people are able to get amazing full range tones and sounds which sit just fine with a band mix - it's just my ears, or limits therein... I like the DT because even though I get the 'feel' of the amp tone, the XLR out DI does a great job sending the signal to the recording, PA, mixer, etc. And if you run two or three of them, you get those signals isolated, which is difficult to do right using real mics.. Here's my take on this; DT25 has been awesome for me, paired with an HD500 and JTV59. That being said; it does certain things better than others. Limitations aside, makes for one heck of an awesome rig when you start to expand it a little, as in, get two or more DT amps. I used just the HD500 for a few years, a year ago added a single DT25 combo. Used that, and was night and day better than what I had before! Then I added a second DT25 combo, and most recently added a used DT25 head and a pair of DT25 1x12 extension cabs. I did a pretty extensive rig test with it all in the last couple weeks, lots of options. I bought the used DT25 head with the intent of my buddy that I jam in my band with to use for his stage rig, to be used with analog pedals front and in FX loop, no HD500. I made a couple variations on the stack concept; two cabs do stack together, but not perfectly - the bottom of the cab is wider / deeper than the top, so there is a slight overhang and you have to position the feet just right. The 1x12 DT25 combo actually stacks on the 1x12 extension cab very well; the footprints work out perfectly. Though the 2x12 + head stack has some serious mojo! And volume. Sounded stellar with no extra FX, just straight to amp, as well as with a bunch of analog effects. Now, on to the POD use. I already had the stack set up, so I put two amp stands to the left and right of it, and set up the two DT25 1x12 combos. I took the analog pedals out of the equations, L6Linked it all together. In the HD500, I set up the two combos to get the left and right, and the center head/stack to get the dry amp send. Massive...Total overkill of course! But insanely awesome amounts of sound. I played around with dual amp models - which are quite easy to accomplish using the DT, since you are using ONLY the pre versions, which use less DSP. Where the DT shines, is then that amp model info sends data to the DT, so it emulates the corresponding power amp typology. Lots of configuration possibilities here; the DT amps will always sync the power settings to the two amp models, but with the mixer, you can pan the preamp signals around to center, or full stereo, or however you want. One benefit that might be even less obvious than 'stereo' is wet / dry, which you can do with two DT's or even with one, using some clever patch programming. I was really liking the solid center tone being 'dry' with the wet FX dispersed to the left/right. Keep your eyes out for used deals; I got that head for $500 and the cab for $180, both were used, but in near mint condition. One note; these amps are heavy!! Even the DT25 combo is no slouch for weight, and of the DT combos, it's the lowest weight of the bunch. The DT50 1x12 is crazy heavy, and the DT50 2x12 is just back injury waiting to occur..

Yep, that works - you run two AES/EBU cables between them, connecting the two Line6 Link in/outs on each speaker. In the L3t mixer section you have the option to set the inputs as stereo or dual mono.

Ok, cool! Sweet idea; I figured someone else had already come up with some variation of the idea!! In terms of your solo gigs, that could be way cool; add a clean 'bass' double to any chords that use notes on the low E string. I was thinking it could also be cool to pitch shift them down a 5th too; might make some interesting mean sounding power chords! Would only work with the one string, but still.. If anyone can ever figure out how to hotwire a JTV so you can get six different outputs, one for each string..

Ok, ya'all! I am at work right now, and won't be able to test this one for a couple days, but this idea just came to me, so I thought I would share it here! Here's the basic summary of the idea: Start with, using a Variax JTV with the latest firmware (for individual string volumes) and an HD500 or 500x. Then in Workbench HD, make a variax model that mutes all strings except the low E string (and possibly with variations that include the low A and D strings) Then drop their pitch down one octave ( -12). In the HD500 / 500x, make a dual amp model patch. Split the variax inputs, send variax mags to the first amp model, create a standard 'guitar' patch to your liking. For the second amp model, send it only the variax model - using the lower 3 string altered JTV model, and run it into a bass amp model. The flip-top for the HD500; the new SVT or other bass models for anyone on the new model packs. Then, for routing, some interesting options; but for starters, just make it easy, run in studio direct / full range, and see how well the idea works. My thinking is, by using the variax model to double the three individual bass strings, while muting the top strings, and pitch shifting the strings using the JTV, you can in essence double the low end, even going so far as to route the 'bass' sounds to a bass rig.. Let me know if anyone tries this and gets decent results!!!