ColonelForbin

If you are getting the 500x, there will be some new bass model packs coming along in a month or so! Of which, I am definitely excited. I play guitar in a band now, but I played bass for a while in a previous band, and still enjoy working on bass tones for recording in studio and at home. As it is now, even if you just used it as a pedal / FX processor, it's still pretty awesome. I was just thinking that same thought too; might try setting up some bass patches to go from HD500 to some Stagesource speakers. They handle bass just fine when I use them for doing mixing or as floor monitors. Also, with the ability of the HD500 to do dual paths, you can run a wet/dry setup, which is sweet for bass - clean signal pass through, with parallel funkiness going on - pitch shifting, wahs, phasers, whatever. OR you could set up a stereo bass rig, which would be entertaining too! Last but not least, it has a looper, which could be cool for doing bass solos - lay down the funky bass line for the band to jam along with, then groove out on top of it. I think the bass pack is $29? Bass Pack: (HD) 1. Ampeg SVT Normal, 2. Ampeg SVT Bright, 3. Gallien-Kruger 800RB, 4. SVT 8x10 cab, 5. SVT 410 HLF cab

I just noticed there is a link to the EHX website from the Tung Sol website. What is the correlation between the two companies? The website says "Tung-Solâ„¢ is a registered trademark with Electro-Harmonix".. Are they made in the same factory in Russia?

Quick update: I got some really cool tones doing JTV split inputs to two amp models, to the two DT2's, DT XLR outs to the M20d, recorded them as stereo. Listened back through L2t's. Because of how I programmed it, I used the FS1-8 mode. Set variax mags to amp 1, variax models to amp 2. Used same amp model with both. Just tweaked the mags mixer level to balance with models level. Set up front row of FS to do comps and drives. Fs5-6 for comp & drive before amp model A, and Fs7-8 for comp & drive before amp model B. Did one version with dual volume pedals, then tried dual wah. Way cool! I set them both to use the external EXP pedal, and set them to toggle on/off using Fs2&3. Used Fs1 for FX on/off and Fs4 for stereo or ping pong delay. The Hiwatt sounded really cool like this. Parallel wah can sound stellar, since one amp gets wah, one doesn't. I need to spend some more time pairing amps, see which sound best with models and mags side by side. Limits some options- using a stereo outboard FX in the FX loop expands some post options.

Yeah, mine sounded good with JJ's. Some low hum, but nothing that seemed too off. Definitely not silent, but no hiss. Had them nicely cranked, tried the JTV split inputs (variax mags / variax models), and I do like that sound alot! I use two amp models and make them the same amp model. I turn the mixer down slightly on the mags side, and use a wah, comp, and drive on each amp channel before the models. I set the full 8 FS, and use 5-8 for the two comps and two drives. I use FS1 for the fx loop, FS 2&3 for the two wahs, and FS4 for a ping pong delay. I set both wahs to use the Mission exp pedal, and I set the HD500 onboard exp to control the delay mix. So for now, JJ's are fine, but not something that was so much different from the stock EH's, so most likely whenever I retube these down the road, I will probably go back to the stock EH EL84's and some decent option for the 12AX7, probably EH.

Check your input settings? In the mixer block, pan left and right. In the link settings, choose left for dt 1, and right for dt2. I was playing with the split inputs into dual amp models today, way cool.

Didn't Eddie Van Halen get his entire tone by slaving a Marshall head into a dummy load box? I read something along these lines: "use a dummy load box after the Marshall head, in effect making the Marshall a preamp for the entire system. The output of the load box would then run through his effects which would then be sent to the input stage of a power amplifier."

Wow, bummer! Your DT amp is really putting you through the ringer. It sounds like in the long run, you will be happiest / most confident in the gear if you send it the service center, or to Line6, and wait it out. That way, you will *know* that it's performing the way it should. While you are waiting for the amp to get back, work on those studio/direct 'backup' patches, for just in case you ever need them on stage!

Tell the soundguy that the XLR outputs from the HD500 are MIC level - NOT line level. He may be thinking that you are sending him line levels. I was mixed up on that previously; think about the HD500 output as being comparable to a mic in front of a guitar amp or cabinet.

Sweet!!!!! Well done, gotta check out this video.. I have only scratched the surface of using the gear with dual inputs, very cool to see people using the XLR input for vocals like this. You won't miss the pitch correction; it's a lovely crutch, but in the end, just makes your actual vocal ability suffer. I had a VoiceLive 3, and I *loved* it. But I relied on it too much, and just to see what I was really singing, recorded the dry un-pitch corrected signal along with the pitch corrected signal. Oh man.... Painful. I sounded awful. I have heard myself in standard recordings with no pitch correction, and my singing and pitch control was way,way better. The issue I had was, either you stage monitor only the dry signal, then you can't hear what the VL is doing for pitch correction. Or, you stage monitor both the pitch correct and the dry tone, and you are constantly pitch correcting yourself to make the slight phasing go away. Which is not a bad idea - but you would only want to run the pitch corrected voice to the mains at that point, so again, a bit of a disconnect from the stage to the audience. If you have a good soundperson, they can make sure the right parts go the correct ears, bit without one--you are risking major mess. OOPs! just sent the audience the un-pitch corrected signal, and sent the pitch corrected to stage. You think you are singing in tune because you can't hear that you are out of tune, and the audience hears you wailing away all pitchy and it sounds terrible. Not a pleasant thought....

I hate to say it because I love using my HD500 with my DT25's... But for home recording, just go direct with the HD500. It will give you more options overall - dual amp models, cabinet options, mic options, stereo.. I get a great signal off the DT25 XLR out, it's a nice recording / live mix send for sure. But that being said, the only safe way to do what you want to do is to use a load box of some sort, in order to not destroy your amp. That power needs to go somewhere. Not sure the exact term you would search for, something like these: http://www.sweetwater.com/c1117--Attenuators_and_Simulators http://www.sweetwater.com/store/detail/CabClone8

Did not know that was an option! Gives me something cool to think about..

Yeah, that's what I was thinking! I use an old Ampeg 1x15, which is a cool bass amp, but has no tweeter. I have a really cool US made Mesa-Boogie 1x15 bass cabinet; and an old SWR cheapo power amp head, but the SWR isn't working very well, something needs to be repaired. That got me thinking, with the StageSource speakers, maybe like, two L2's, you could do a sweet bass rig. Has the low end punch, plenty of power - similar to a 2x10 cab vibe - but with the HD500 as the brains, you can switch from stereo, to wet/dry, to dual bass amps, to all kinds of killer stuff. And of course, bass Looper jams! :) I think I am also going to try hook up my two L2t's to the Roland keyboard, see how that sounds!! That doesn't need the HD500 - but would still be way cool.. Keyboard looper jams!! :)

No, but it's within 4%!! ;)

Anyone using the HD500 with a Stagesource rig for bass guitar? It just occurred to me recently that this could be a pretty awesome bass rig, especially with two Stagesource speakers. Either for stereo bass (why not!?) or for some kind of wet / dry bass rig; run one side with normal bass, the other with various effects; pitch shifting, auto wah, stuff like that. I haven't given the bass side of the equation in terms of the Dream Rig much thought until they announced the new model packs with those new HD bass models...

Gonna work on this tonight!!! Super stoked. Got both guitars (US Strat and JTV59) back from the shop, new strings and a setup. Got both DT25's back from the same shop, new tubes and rebias. Fingers crossed everything is all good to go, and the new JJ's tubes don't cause me any of the "not Electro-Harmonix brand tube-changing-blues"... :) Got the new HD500x to dial in, get some new patches going on. Stoked!! On a side note, I just realized this morning how stoked I am to still have the old HD500 and the pair of L2ts, so now I can come up with some wild stereo bass patches!! And with the new model packs, those extra bass amp models are going to be sweeeett!!!! Bass looper jams.. Opens up some really interesting options.

It's actually 4.20% ;) (add mandatory "Just Kidding!!!" tagline; DI does a great job keeping us all in the loop, don't want to get him riled up more!) :)

You know, in a pitch the DT25 would still serve you as a backline / stage monitor for your studio/direct tone.. Use the HD500's XLR outs to feed the main mix / PA, and send a mono 1/4" to the FX return on the DT25. Maybe run a volume pedal between the HD500 and the DT25? So you can adjust the DT25 'monitor' level without changing the output to the main mix..

Check out this thread; for what it's worth, user 'russgoos' has a photo up of his dual combo-cabinet stacks! (two DT25 combos on top of two DT25 cabs) http://line6.com/support/topic/12014-dt25-combo-vs-headcab/

http://forum.fractalaudio.com/axe-fx-ii-discussion/96382-im-just-going-leave-here.html

I wasn't paying enough attention to the details, didn't notice that.. I am guessing since the piezo's are in that part, it would not be an easy swap out. I am guessing the JTV69s is the more 'modern' two point? http://www.seymourduncan.com/blog/the-tone-garage/vintage-tremolo-stability/

I really want to like it! Though, I am gun shy after I bought a Roland GC-1 and sent it back to Zzounds within two weeks. Not a quality instrument. And so I can resonate with folks saying JTV owners will not be overly pysched to get one of these; the price points are very close! Though, I remain hopeful and cautiously optimistic :) Just got my JTV59 back from the repair shop, got new strings and a setup. They did a little minor work getting it set up right, I think he said one of the higher strings had a little bit of buzz. As for the 2.1 firmware, I have no problems with that. I updated my JTV59 right away, and never looked back. I realize many people have gone back and forth a bunch comparing / agonizing over the differences between the older firmware and the 2.0 and up. For me, it's not an issue, I think the newer firmware offers to0 much to worry about whether the models sound different from what they used to sound like.. For example. individual string volumes!!! I *love* being able to program Keith Richards style 5-string open tunings. Have to use firmware 2.1; can't use the old firmware. And I much prefer Workbench HD, so that decision was easier for me than others.. I am not trying to discount what others have experienced; whatever it sounds like to you is what matters most, not what anyone else thinks.

Yeah, the DT is the best of both Frank and Bob! I get excellent results using the XLR out from the back of my DT25's. It does make sense to want to mic the DT amps though; and regardless of the digital preamp, you are still hearing / recording the analog tube portion of the signal, and that's the most important aspect anyway. Digital preamp into analog tube power will/should/does sound better than analog preamp into solid state poweramp.

What happens when you connect the Stagesource speakers to the L6Link while running in 4CM? I am assuming you are using HD500 with the Bogner like this: guitar -> HD500 guitar in ->[pre amplifier FX] ->HD500 FX loop send ->Bogner guitar in-> Bogner FX loop send->HD500 FX loop return-> ->HD500 1/4" out -> Bogner FX loop return. Essentially, the Line6Link out of the HD500 should then carry the full "wet" signal to the Stagesource speakers - but that same signal will also be sent to the Bogner using the 4CM. Is the Bogner preamp an essential part of your tone? You could try entirely bypassing the Bogner's preamp, and use only the HD500 amp models / PRE amp models. You would use the HD500 FX loop send to feed the "dry" signal to the Bogner FX loop return (postion the FX loop block after the amp model, before the "wet" effects.) You would basically set the effects loop send to 50% mix so that it passes signal both to the FX loop send -and- to the "wet" post-amp model effects. If you run the wet effects in stereo, using the L6Link configuration you would just tell it to send the left to stagesource #1 and the right to stagesource #2. Where that might mess you up, is the HD500's output mode. What output mode are you using now? Most likely, to get it to sound right, you would go with combo/poweramp or stack/poweramp. This tells the HD500 that you using it's amp model (pre version) and feeding that signal into an actual poweramp, so it turns off the mic modeling. The Stagesource speakers would then go to electric guitar mode, which will sound fine, but you might have to mess with some settings to get the XLR outs from the Stagesource speakers to sound good . But, first thing to try, would be take the rig as you have it now, and try connecting the L6Link to the Stagesource speakers, and mess around with the routing options in the Link pages.

3.) Wet / Dry for stage and live use: This is getting back to more like emulating the traditional wet/dry and doubling ideas I lifted from Van Halen, Jimmy Herring, Stevie Ray Vaughan. Here's an interesting tidbit- when Jimmy Herring was playing with Furthur and doing the Grateful Dead tunes, he set up his monitor mix using Ernie Ball volume pedals on stage so he could control the individual other musicans levels in his monitor mix, on the fly. He realized he would need to adjust what he was hearing based on who he was interacting with. Cool, but complicated! He also had the same volume pedal set up to control his on-stage wet/dry blend, which I thought was pretty cool. So much of the POD 'studio/direct' experience revolves around controlling elements that would typically be controlled by the soundguy. I tend to like the DT linked experience more, because it's fewer variables for me to worry about / tweak / adjust, and get stuck thinking about rather than playing. Reading in particular about Van Halen and SRV, they both employed similar ideas, using different methods. Van Halen used pitch shifting, just a few cents tuned apart to make the tone sound fatter and bigger. SRV used a delay pedal set to just barely offset the time of one cabinet in relation to another. In that sense, the wet/dry thing should really be ONE amp model, and the wet/dry split should occur by use of the L6Link programming. Meaning, one DT gets the full summed left/right signal at the end of the HD500, and the other amp gets the pre-mixer block amp model only. If you are using three DT amps, the center amp could be the dry "pre mixer block" signal, and the other two could be the "wet" left / right stereo sound. In that sense, it's the easiest rig to set in the patches; you don't need to program intricate split inputs, or match dual amp models. It siphons off the signal before the "wet" effects. If you are using three DT amps, the center amp could be the dry "pre mixer block" signal, and the other two could be the "wet" left / right stereo sound. So, I guess I don't really know how I would approach wet/dry. The easiest way to do it is one amp model, two DT amps, set up the patch like normal with pre amp model effects, and post amp model effects, send one amp the dry, send the other the wet and done. With the DT's in link mode, with only one amp model, straight forward. I still like the dual amp model idea; WITHOUT the split inputs. I think that makes it somewhat easier to program. Using the standard input routing would enable the use of alternate tunings, and would make programming Variax model changes simpler as well. Alternate tunings + mags, not good - unless the detuning is so slight that it is used for a doubling effect, and there should be easier way to do it. With the single input, the pre-amp model effects could all remain mono, no need to retain split paths from the start, just split them into the two amp models. The thing to keep in mind there, is that regardless of the panning or what the final signal on the wet side is comprised of, the power amp typology of the actual DT will still sync to whatever amp model is in that path. So, you could merge the two preamp signals into the wet portion of the signal, but they would still be paired only with the one amp models sync setting. Depending on personal preference, this setup might benefit from using the FS1-8 mode. So, for idea# 3, I guess a sample layout would be something like this: JTV -> FX#1 -> FX#2 ->FX#3 ->FX#4 -> AMP MODELS -> FX#5 -> FX#6 ->FX#7 ->FX#8 outputs: DT#1 = "dry signal" of amp model A (includes dry FX 1-4, excludes wet FX 5-8 DT#2 = "wet signal" L+R, or just Left, or just Right (includes dry FX1-4 + mono summed wet effects 5-8) and if you *really* still want stereo, then pan the two amp models hard left/right: DT#1 = "dry signal" of amp models A+B (includes dry FX 1-4, excludes wet FX 5-8) DT#2 = "wet signal" left (includes dry FX1-4 + stereo wet effects 5-8) DT#3 = "wet signal" right (includes dry FX1-4 + stereo wet effects 5-8)