ColonelForbin

Is both an answer? ;) I had to make the same choice around this time last year.. I went with the DT25... Then a month later, Guitar Center had a random sale on the JTV59 for $1,000, so I asked Zzounds to price match and do 8 payments, which they did, sooo. I got the JTV59 too. There are alot of options with all of these pieces; I was in a similar boat to you before I got the DT25 - I was using a Marshall Valvestate amp, and just running the 1/4" from the HD500 into the FX return of the amp, and sending the XLR outs from the HD500 to the PA / mixer, etc. A year later, and I want to add a 2nd DT25 to the rig; and at some point will likely either need to get an HD500x or wait for the "next" option that Line6 puts out (I personally would hold off on spending ANY $$ until after Winter NAMM 2015 - just in case..) Here's the thing, Radatats pointed out, and rightfully so - when you use the Line6Link from the HD500 to the DT25, it automatically put the HD into 'combo/poweramp' mode - which means that the XLR out from the HD500 are no longer suitable for sending to recording, PA, etc. Now, the DT25 XLR out is quite good, I use it with my band in place of using a microphone on my amp, and have gigged with it that way too. He also mentioned that you will need to redesign all your tones for use with a DT amp, and that is also correct. The DT-HD500 interaction allows you to choose the preamp versions of the amp models, instead of the full versions, and thus allows the Bogner part of the DT amps to create the power amp part of the amp models, using analog tube power, rather than digital modeling. As a result, there is a world of difference between the 'full range flat response' tonal quality of the HD500 when used with something like PA speakers, or the Stagesource speakers (L2, L3) vs the "amp in the room with you" that is the DT25, or with your Marshall and the HD500 in 'combo poweramp mode'. For me the core of what makes the DT amps so awesome is the Bogner portion, However, the amp modeling *as is* on the HD500 is already really, really good. With the DT, if you use stereo FX *at all* you will need TWO DT25's. Yes, two. Because you can't run Line6Link to the DT25 AND use the XLR outs from the HD500. Well - you can, but it probably won't sound good, since the mic modeling is disabled, and the tones are voiced for the DT amp vs to a full range speaker system with a tweeter. I guess for you, have you experimented much with running the HD500 in different output modes? Looks like the Marshall you are using has an FX loop - this is crucial. Do a test: try plugging the HD500 into the FX return of the Marshall, turn off the reverb on the amp, and load up a patch you like or use often. Set the HD500 first to "studio / direct" and play for a bit, then switch it to "combo / poweramp" and play for a bit. The studio direct tone contains the mic modeling, and should sound similar to a monitor mix, or what you would expect to hear from the main mix of a PA, or a recording signal. If possible, record that signal. The studio direct is like the control room sound, think of it as if your amp is in another room with a mic on it, and you are hearing that signal amplified through some other type of speakers. Now, with the combo poweramp, this should sound more like being in the room with your amp next to you. The "playability" factor comes into play here, the sound will be less disconnected - it's the sound of the actual amp model as rendered by your Marshall power amp. Now here's the trick - since the HD500 doesn't sound good going out the XLR outs in this mode, try running the "emulated line out jack" from your Marshall in to the same recording interface. That signal should sound fine - my Marshall has a similar feature, and this is very similar to the type of signal the DT creates for the XLR DI out. Depending on which you prefer to hear when playing live, will help you make this decision. For me, I have hearing problems, so it was 100% crucial that I have the DT25, on an amp stand, so I can hear myself. I got drowned out trying to make the Marshall Valvestate keep up with a Fender Tweed, drum set and electric bass. I also had a difficult time finding myself in the mix when using 'studio/direct' going to floor monitors or to keyboard amps. Thing is, normal people's ears don't have a problem like I do, so that might not matter. Also, if your stage monitors or rehearsal monitors are really good, or if you have a soundguy who can get you dialed in, this also may not matter. I run sound from the stage for my band, and we just wing it. I use the M20d which makes it pretty easy to get the sound dialed in, then save the settings and load them up for gigs, and we leave it all connected and dialed in at rehearsal, but it's stressful trying to both play and dial in the bands sound, vocals, etc. With the DT25, I have no problems because what I hear coming from the amp itself is a fairly accurate rendition of what I will hear coming from the stage monitors or the main mix. When I was doing studio/direct, trying to balance my signal with vocals in the monitors, it was rough. but that is specific to my bands' scenario, and likely doesn't apply to everyone. In the end, while I am gearing up to add a second DT25 to my rig, and hopefully a pair of L3m's for the main PA sound, I am inclined to agree with Radatats, in that the JTV does offer a huge palette of options which is likely to be of greater value to you in the short term over the DT25.. Hard call though! I stick with my original take on it: figure out how to get both, even if it means doing payments on one, and buying the other out right.. Though, I also think - wait until NAMM 2015, just in case Line6 unveils some new version of the Variax, DT, Stagesource, or POD... Just in case! :)

Great amp right? I have tried various configurations with the HD500 and DT25. For a while I tried analog pedals instead of the HD500, ended up gravitating back to making the HD500 work with the DT25, mostly because of the JTV. Takes some work to get it right, weird little quirks. In essence the preamp models are identical, and with patience, you can make the HD500+DT25 sound just as good (better) than just the DT25 alone. Now, as for FX loop pedals, I was also messing with those, started with using pedals in the DT25 loop, went back to just putting things into the HD500 loop. For a while I used an M13 in the HD500 fx loop, in stereo. Ended up selling the M13, was more than I needed, and the floor board space was getting insane. Another guy on the forums (Radatats) recently shared his experience using a smaller multi-effect Zoom chorus / reverb / delay pedal in the FX loop, looks like a cool option. I just ordered one, so I can't comment from personal experience, but will be testing it out at band practice on Monday next week! Here is his original thread, with some pics of the pedalboard setup: http://line6.com/support/topic/10892-my-dsp-limit-solution/ For me, it's a cool idea - I have the same pedalboard case, so I know it will fit in there nicely. Also, I am going to add a second DT25 combo soon, to run my rig in dual amp model / stereo, so this is the right track for me. I am also pysched that the Zoom has a version of the L6 Particle verb! love that effect..

Dang, time flies! I still think of 2008 as being not that long ago... Guess I need to take a closer look at the calendar! from 2008: "by RichRenken on 2008-08-08 20:21:08 They have shipped out from Line 6 as of 8/7. They should be in the stores soon. "

The Stagesource L2t's sound awesome.. I have focused more on using my DT25, but I did connect up the HD500 to the two L2t's at home, and had a lot of fun running it in stereo / studio-direct. I want to get a couple of the L3m's since the price dropped, just need to wait till after NAMM 2015 it would appear, so I know what potential other G.A.S inducing options are coming along :)

Yeah, the TT looks sweet. I don't know what they mean by "introductory pricing"; I guess the price might go up?> I see the $200 price tag as reasonable, I don't think the product warrants a steeper price tag, though who knows. I guess the question would be, how "in depth" do you want to get with your guitar tones? And what kind of features are important to you? The TT and the HD are very different; though with the latest piece in the AMPLIFi family, they did add USB recording functionality, which helps the line for sure. The TT has Bluetooth capability, which is actually really cool, especially in this format, where is allows you to bring wireless audio streaming to old school speaker / amplifier rigs. That alone makes is awesome.. The amp modeling via iPhone/ Android app is also a nice feature. The HD series doesn't have Bluetooth. The HD offers other options not available on the TT / AMPLIFi line, which depending on what you want out of it, may not matter to you. The main items are: -XLR input, XLR output -VDI input for Variax guitars -Line6Link output for use with DT amps and Stagesource speakers. Presumably that Link connection will be "backwards" and "forwards" compatible with any new Line6Link devices that may emerge in the future, though I don't know that I am just guessing. There are other programming specifics which are too detailed to compare, in terms of how you access the devices, how the programs can be used with PC on the HD series vs app on the TT. Also, specific amp and FX model differences; the TT uses the plethora of amps (over 100?) and FX from the XT / X3 / PodFarm series; the HD stuff is fewer in quantity (30), yet presumed to be higher in quality - though a big part of that comes down to how you amplify the tones. The TT through a killer sound system will sound better than the HD through the wrong amp setup, etc. The HD also has some additional bells and whistles, in terms of the dual amp chains, and the overall flexibility with FX assignments, however, there are DSP limitations which can be frustrating. The HD also has pre-amp only versions of all of it's amp models for use with the DT amps, which can be best described as using it in a more traditional analog amp manner, vs doing full amp modeling. A subtle distinction which may be lost on some. The Line6 amp modeling has always been top shelf, so that's not a detraction really, rather an additional flexibility. Meaning, the HD series can better accomodate use with guitar amps, by way of disabling the mic modeling part of the signal. If as you stated in the OP, you want to use the device of your choice with your home stereo system, that guitar amp aspect of the HD is not a factor. There are other options that both have - both have some SPDIF digital outputs; both have jack for FBV foot controller as well. The HDPro (not the HD500) does have a dedicated "dry" output jack which is nice for recording. I guess the TT for the price is hard to beat! $200 vs $700

Same here; though I am still a bit hesitant about the L3s; those are some massive / heavy speakers! I definitely want to add the pair of L3m's for my system; thus far have resisted the urge to ask Zzounds to price match Sweetwater, because I know they will do it, then I will have 8 months of $175/mo payments... I prefer Sweetwater when I can afford the gear, or can swing the 3 payment plans, but at the moment, that ain't happening. It's easy to get all fired up about stuff, and sign up for payments, or finance it with a credit card. It sucks to have to actually pay the bills each month; I did that around this time last year for a JTV59 and DT25. Finally got that stuff paid off near the end of 2014, but it was rough..

It's subjective, I have a pair of L2t's and a single DT25 combo; looking to add another DT25 combo to my rig for when I play with my band. I like the HD500 sounds in "FRFR", IE, with the L2t's, in Studio/Direct when I am working on recording at home, or playing alone. However, I have always had issues when playing with my band - two electric guitar, bass and drum - hearing myself when using the HD500 direct to mixer, or in any variation of 'studio direct'. I tried various other amps, keyboard amps, I tried through the mixer into floor monitors, and through the L2t's. The issue there is more my own: I have drastic hearing loss in one ear that has been with me since a very young age. Ear infection, one eardrum burst, the other did not - some kind of reaction to anti biotics. So, for those of you with good ears, this may not be an issue. So, for me, I gotta have the amp near me, up on an amp stand. Why I like the DT25 for this scenario, is that even though the HD500 gets configured into 'combo/poweramp' ; since I run the XLR out from the DT to the M20d mixer-> L2t floor monitors, I still get a "PA / recording / monitor friendly" XLR send. Main benefits of using the DT25 for me: 1. I can hear myself when everyone else gets rockin, especially drums. Amp stand = crucial! I use this amp stand 2. My recording signal is "isolated", so it can be mixed easily later when I load the dry tracks into ProTools. 3. My signal can be easily sent to the floor monitors so I don't have to crank the DT25 for everyone else to hear me. And when we play live, the same basic reasons all apply for live situations as well. What's not ideal, is the acoustic tones from the JTV; and for now, I just deal with it by not really dealing with it.. I've tried some of the tricks, so far the issue I have is that the JTV acoustic tones don't like being in 'combo/poweramp' mode. Which is why for a lot of folks, the L2/ L3 are the best bet. A side note to that: they just price dropped the L3 price by $200, so you can now get an L3m for $699, which is only $50 more than the L2m. What I would personally like to do, is get another DT25 1x12 combo, and for the time being, not overly concern myself with trying to use the JTV acoustic models with the DT rig. I think the crux of the issue there, which might be something to be addressed in future JTV updates, is that there is no "piezo" version of the acoustic guitar. They are all "mic'd acoustic" guitar models, which are not the right fit for a rig voiced to optimize electric guitars. I think a piezo type version of the acoustic guitar models would be something that might be usable with the DT amps, but that's just speculation for now! Though I am guessing there are variations of this idea on IdeaScale.. http://line6.ideascale.com/a/dtd/Clean-piezo-signal-from-JTV/515946-23508

I like the Marshall Plexi and the Fender Bassman; normal and bright for both, depends on the specifics, but any pair of those two are really good. Your question is quite interesting, because as of late, I have been wanting to get a second DT25 combo, so I can run my rig in both "dual amp" mode, panned center, but also with some stereo effects for certain musical moments. Since you can control the mix on a per patch basis, it would be easy to take it from center-center dual amp models, into cool panned amp models, and then to full stereo based effects, chorus, delays, etc.

This thread is giving me New Years G.A.S.!!! lol I have been wanting a second DT25 combo basically, since I bought my single DT25 combo a year ago. But after I got it all paid off I wasn't in any hurry to drop another $999, and the prices haven't budged - whereas the StageScape mixer and speakers have all dropped, anywhere from $100 to $500 ($100 off the L2m/t, $200 off the L3m/t, and $500 off the M20d..) But the extension cab is only $300, and wouldn't require any new patches or re-programming the HD500.. I currently use an amp stand with my DT25, would probably just put the extension cab on the feet of the stand, and lean it back. Though I like the 'mini stack' idea too. Dang... Must resist G.A.S.... :)

FX Update Troubleshooting Step 1: Perform a Factory Reset Turn off AMPLIFi FX100 While pressing and holding both the big knob and TAP footswitch, switch the power on The process has completed when you see 01 in the bank display and the A footswitch is lit. Step 2: Calibrate the Wah/Volume Pedal Turn off AMPLIFi FX100. While pressing and holding footswitch A, switch the power on. The display reads “00†and footswitch D LED is lit. Press footswitch D. The display reads “01â€. Move the wah/volume pedal to the toe position and press to engage the toe switch. The display reads “02†and footswitch D LED is lit. Move the wah/volume pedal all the way to the Heel position and press footswitch D. The display reads “03â€. Move the wah/volume pedal to the toe position without clicking the toe switch. Press footswitch D. The displays reads “04â€. Move the wah/volume pedal and note the values in the display. Values should scroll from 0 (heel down) to 99 (toe down). Press footswitch D to save the calibration values. The display reads “05â€. Restart AMPLIFi FX100. Re-pair your iOS device's bluetooth connection with the FX100 by going into Settings/Bluetooth and then pressing the "i" that has a circle around it next to your device and choosing "Forget this Device". Once this is done, re-pair your iOS's bluetooth connection with the FX100. Exit the AMPLIFi Remote app by double-tapping your iOS home key and then sliding the AMPLIFi Remote app window up and off the screen to fully close the app. After performing these steps, your AMPLIFi FX100 should be updated successfully and you will no longer be prompted to update.

You might want to do a factory reset, then update the firmware. I don't have an AMPLIfi, so I can't say for sure. But here is how to do it: Post Flash Update Instructions for FX100

Yes to what Rick said! I use these by BestTronics, good price, high quality Belden cable. A 50' length would cost you $45 plus shipping. http://btpa.com/AES-EBU/ Male to Female 3 Pin XLR AES/EBU Digital Cable using Belden 1800F Cabl All AES/EBU series cables are quality made and tested in the U.S.A.with 110 Ohm Impedence AES/EBU Digital Audio Cable Highly Flexible Black PVC Jacket Hand Soldered with Neutrik or Switchcraft Connectors Quality Made & Tested in the U.S.A.

For what it's worth, they make a $50 plastic shell cover that you can place over the M20d in scenarios like this, where you are controlling it from a distance via iPad. Sort of like a beer shield / dust cover.. http://line6.com/store/item/323/

Good question. Not 100% sure I know how the gear behaves when you are using the HD500 as a soundcard, and using the Line6Link. Treat it like this: the HD500 is the ASIO soundcard, and should be defined as such - UNLESS - you are sending analog outputs from the HD500 or the L2m, into another soundcard. As in, install all the drivers, etc, and define in the computer that the HD500 is the default soundcard. You may also need to do this in the recording software. I do not know if the L6Link causes any issues, I don't think so. But to test, you could send just XLR or 1/4" if you want it to sum to mono, from the HD500 to the speaker. I would start with getting the HD500 to talk to the computer first, make sure you have all the drivers in place for the HD500 to be the ASIO soundcard, then go from there.

Dream Rig, for me at least is outstanding! I have a feeling the language barrier is playing some role in this person's frustration (those wild and crazy Canadians!) My perspective on this, has nothing to do with Line6. He is all in a rage on multiple threads screaming at Line6, when I would guess his actual complaint is with the vendor / dealer who sold this to him. Just a guess... For example, if he had ordered with Sweetwater, there would be no issues other than having to wait, because they don't have that model in stock either. But my Dream Rig, it's outstanding. I use an HD500, DT25, and I also have a pair of L2t's. Nothing but awesome. I bought the HD500 in 2010, the JTV59 and DT25 from Zzounds, and the two L2t's from Sweetwater. If I had some issue with the condition any of the gear arrived in, I would be upset at Sweetwater or Zzounds, not Line6! Unless the actual equipment was faulty - and I did have that issue with my M20d. I sent it back to Sweetwater, they sent me a new one. Sure I could rage about how Line6 made a faulty piece of equipment, but the replacement has had zero issues, so yeah, sometimes things made in China have issues. Either that, or original poster is just messing with our heads and is making all this stuff up. Who knows. The hyperactive use of bold, font changes, color font changes, and underlining is definitely a bit excessive and overzealous. But, so I can at least say I was intending to be helpful, as I mentioned - buy from a REPUTABLE online dealer. Saves lots of headaches: http://www.zzounds.com/item--LINJTV89F?siid=124368 MORE EXPECTED SOON! More expected Jan 10 http://www.sweetwater.com/store/detail/JTV89FBR It's Arriving Soon!We've confirmed with Line 6 that more of this item should arrive within a few weeks. Place your pre-order now to reserve yours, and your order will ship in the order it was received.

Kinda think about PA-reference vs Electric guitar on the L3t, in the same way that you think about studio direct vs combo/poweramp on the HD500. The difference in my head, is the sound of your amp mic'd up and ready for recording or live sound vs the sound of your amp itself. Combo poweramp output mode on the HD500 is the default when you L6Link to a DT amp. With the L3t, you have those other options, so you don't need to stick to only the combo poweramp mode. However, in terms of mic'ing your gear, yes you can - but make sure the output modes on the HD500 and the speaker mode on the L3t are set up to not include mic simulation. That is where the DT throws an extra bone in the mix, because it has a cabinet simulation on the XLR di out. So you get the sound of just your amp from your amp, with the XLR send being packaged for recording or to the main mix. In your case, I don't think the L3t does that. One approach would be, dial in all your tones in studio/direct mode, L6Link to the L3t, let it be in PA/reference mode, and then use the XLR MIX out from the L3t to the house sound. What you will be hearing from the L3t is your amp/cab+mic tone, and that should work well for stage monitors and main mix. Not much you can control over the sound guys, but seems to me that adding a mic to your rig isn't a bad idea, but mic'ing a signal which already has mic emulation might not be the best approach. The other way more expensive option is to buy a DT amp, run the HD500 in link to the DT25, then send the XLR from the DT into the L3t, and then send the XLR mix out from the L3t to the main mix. In that scenario, you could also have the sound guys put a mic on your DT amp, since it's in combo/poweramp mode, and is essentially the digital preamp from the HD500 paired with the Bogner poweramp in the DT. The XLR out from the DT is mic level not line level, for what it's worth.

Yeah; I have the Beta 87a, which is a great mic - but it picks up *alot* of the background mix. Makes mixing a bit of a challenge.. Nice mic though! I was looking at the Beta 58, that looks like a good option. Also have a nice Audix OM7 mic, which is similar to the Beta 58 I think.

Thanks Rick!! Those are great tips, perfect place for me to start - and good to know about the comp causing monitor feedback. Good move, I didn't think to put a comp on the main outputs. I just saw the L3t and L3m $200 price drop, looking at getting a couple more speakers to add to my Stagesource rig! They dropped the price on the L3's more than the L2's; the L3m is now only $50 more than the L2m..

Yeah, the Stagesource stuff is still pretty awesome; the new price is better, but still pretty steep. I already 'bought into' the M20d; already have a pair of L2t's. Good point though; will they release an updated version of this equipment that will work with all existing 'Line6 Link' gear? ~"Who knows what gear lurks in the heart of Winter NAMM... The Shadow Knows!"~

Anyone notice the (recent?) price drop on the L2 and L3 speakers?? I have been holding out on getting a pair of the L3m speakers for my system, makes it quite tempting.. L2m = $650 http://www.sweetwater.com/store/detail/SSL2M L2t = $750 http://www.sweetwater.com/store/detail/SSL2T L3m = $699 http://www.sweetwater.com/store/detail/SSL3M L3t = $799 http://www.sweetwater.com/store/detail/SSL3T

Wow, not a happy camper. Seems like you should be directing your angst at the person who sold you the guitar, which in this instance, is probably *not* Line6. A good option for you: Buy Your Gear Online with Sweetwater. You can't go wrong with them. There is also a $150 rebate going on for a couple more days, might end up saving you some $$ in the end: It's Arriving Soon! We've confirmed with Line 6 that more of this item should arrive within a few weeks. Place your pre-order now to reserve yours, and your order will ship in the order it was received. http://www.sweetwater.com/store/detail/JTV89FBR Line 6 JTV-89F w/Floyd Rose - Blood Red James Tyler-designed Modeling Electric Guitar with Maple Neck, Mahogany Body, 2 Humbuckers, Switchable Models and Tunings, Tremolo, and Gig Bag - Blood Red $1,049.99 (After Mail-in Rebate)

Yeah, a 25' AES/EBU from BestTronics is less than $30.. Definitely worth using the proper cabling instead of standard XLR, but no need to spend nearly $200 for a 5' cable! I mean, the Line6 brand 20' cable is $60 or something, and the 50' length is $90.. http://www.sweetwater.com/store/detail/L6LinkMedium http://www.sweetwater.com/store/detail/L6LinkLong

Someone here in the forums turned me on to these folks, and I have multiple AES/EBU cables from them; for connecting my HD500-DT25, and also from the M20d mixer to my L2t speakers. Quality cable, really good stuff. You tell them what length(s) you want, and they make 'em! I also bought a 25' VDI cable from them to connect my JTV to HD500; it's excellent quality as well, for what it's worth. BestTronics, in Tinley Park, IL http://www.best-tronics.com/ AES/EBU: http://btpa.com/AES-EBU/ VDI Variax: http://btpa.com/Line-6-Variax/ All AES/EBU series cables are quality made and tested in the U.S.A.with 110 Ohm Impedence AES/EBU Digital Audio Cable. Male to Female 3 Pin XLR AES/EBU Digital Cable using Belden 1800F Cable Highly Flexible Black PVC Jacket Hand Soldered with Neutrik or Switchcraft Connectors Quality Made & Tested in the U.S.A. Limited Lifetime Warranty Cord-Lox Cable Tie on Cables 3 Feet and Over

Basically, yes. Line6Link from the HD500x to the DT25 - you already have a cabinet or you have one on order? The Line6Link cable *can* technically be a standard XLR, but should be an AES/EBU digital cable. Don't sweat that for now. You will also want to buy a Variax cable with the XLR style shielding on both ends. In the long run, get a nicer cable - I like what BestTronics made for me; but I also have the Line6 brand cable - and on short notice, you can probably find one of those in stock in a Guitar Center or do a quick ship from Sweetwater or something. Yes to your question about using the 'PRE' version of the amp models, when using the l6link to the DT. I have had good results from the XLR DI out from my DT25 combo; you might be able to make that work. Remember - the XLR DI out from the DT25 is MIC LEVEL not line level. So your soundguy will thank you to know that. Also make sure you set your inputs up on a global level; typically set input 1 to variax, and set input 2 to guitar or aux, or some other non-used channel. Start with some blank patches, and audition a couple of the amp models; that's the core of your tone, and because the DT will be doing analog switching and power amp recconfiguration every time you change the amp model, make yourself aware that the smaller sized amp models are not nearly as loud as the bigger sized amp models. The treadplate is like, four to eight times louder than the Fender models, or Vox, etc. Watch out for that if you are spinning through the amp models. I like the plexi normal and bright models with various levels of gain, for that modern / saturated blues tone - you mentioned Gary Moore. The Fender models are all solid, and sound pretty authentic. Think about your patches like this: there are 8 footswitches on the HD500x. You have two options of how to configure them- 4 patch changes + 4 fx changes, or 8 fx changes. In the first configuration, the bottom row (closest to your feet) trigger patch changes A-B-C-D. The top row control whichever combination of FS assignments. You can turn on/off multiple FX with one footswitch if you program it that way. On the programming note, make yourself familiar with both the software editor for ease of use AND editing on the HD500 itself, for on-stage / gig tweaks. You will be thankful you know how to re-assign FS settings or adjust certain parameters, save to the patch, etc. The customtone website has a lot of patches, you might have some luck with those, though you have limited time, so I would suggest learning how to at least build and edit your own patches first, so that if you do end up using other peoples tones, you can reverse engineer them, and know how to quickly edit to your own taste. I use the 4 patch + 4 fx FS setup. I usually create four tones that can be used with each other, and set the FX up in a similar manner in each. Typically, comp / boost / drive / eq in the pre-amp model slot, and chorus / delay / reverb in the post amp model slot.

The HD500 has more bells and whistles in terms of how it can take VDI from a Variax, and it has the Line6 link, and also XLR ins, outs - some people may find those essential, others maybe not so much. Lately, I have been using the HD500 linked, with my JTV59 and a DT25, so the HD500 is essential to that rig. The ability to control so many different parameters in the three different pieces is quite nice - change amp model, change guitar model, change tuning, etc. Lots of cool stuff there.