ColonelForbin

There are two reso models that sound very 'acoustic guitar' like; the Shorthorn definitely is pretty smooth. The banjo and sitar are the most eclectic of the bunch; they can be pretty funky sounding, cool to use them as a 'lead tone'. The tone knob for the sitar model controls the volume of the drone strings. I can't remember the tricone or the dobro is also similar to the acoustics in terms of playability. I actually moved the two 12 string acoustic guitar models into the reso bank, and put the Shorthorn and one other reso into the acoustics bank. If you really want to get authentic with the banjo, you can do an alternate tuning to mute one string, and tune the other strings to the G-D-G-B-D banjo tuning! You can even bring the octave of the lowest string up an octave and bust out of the finger picks.

Yeah, I have given myself that WTF? moment, when I had dual tones, with one tone as the variax mags and the second as the variax models! Turn that alt tuning knob, and heard a really, really weird sound! I know they have that smart harmony effect on the HD500, where it shifts up, say a third, but based on the scale you are defining it as, so if your key is G major, the interval is +3, and the root is a E note, it shifts up to a flat 3rd (G) rather than to a major 3d (G#); but that's a whole different thing. Since it doesn't shift on a per-string basis, it's still rather limited to single notes (IE, not polyphonic).

Is it just EQ'd or did they also turn off the mic model in that guitar amp signal? I've been wondering about that for a while. It was a core component of all the previous POD's and such; looks like it went a different route in the Amplifi. Not a big deal, I don't think the Amplifi or the FX100 are really intended to be overly versatile, in that regard. The 'Amplifi' line offers a very different type of functional creativity experience. 'Not intended for Stage' would be an accurate description. Seems like a lot of the questions I read about the FX100 and the Amplifi could be categorized as "how do I make this gear do what the previous POD, X3 and HD500 can do?" Short answer appears to be, "you can't, go buy an HD500x". More specifically, if you want: -To use the 4-cable method -HD amp models -M class FX models -XLR input -XLR outputs -Variax input -Output modes (IE, disable mic modeling, while keeping amp and cabinet modeling) -FX loop -Line6 Link output -Direct to computer / DAW via USB recording option / Soundcard option ...then Amplifi and FX100 are not for you. However, if you already have a main rig, or that other gear as mentioned, and you want something that can do what the Amplifi and FX100 can do, which those other options cannot do, such as: -Bluetooth speaker / wireless mp3 streaming -Tone matching via the Cloud -Remote app (actually looks really cool, I checked out the Android version!) Then I am sure it's an awesome option. But not if you want to do more complex routing options.

I think the main issue is - unless this is some as of yet undocumented feature - there is no way to turn off *just* the mic simulation in the signal chain. I don't know that for sure, and the manual is AWOL, so... Not sure. The basic concept of using the amp's FX return, is to just tap the signal from the board directly into a power amp, bypassing the amps' preamp / tone stack. Did this for a long time, with my HD500. The key with the HD500, is you can turn off the mic model - combo poweramp mode, vs with the mic model on - studio/direct. I think with the Amplifi, they haven't spelled out that option - yet. It might be possible, or it may be an added feature, who knows. I'd say consult the manual, but there isn't one. Yet.

Yeah, it does make a difference! I really like the feel of my JTV59, it's a nice guitar. I recently bought then returned a Roland GC-1, which is basically a Mexican strat with the GK pickup hardwired into it. It's a cool guitar and the sounds using the 13 pin pickup are sweet - but the build quality of the guitar is just not there. I compared it with my USA strat, and I couldn't stand the Mexi anymore. The JTV is definitely, for being Korean, a step up from the usual imports. The USA JTV's are just too far out of my price point, but the value is there with the Korean build, for sure, way better than the Mexican Roland ready Fender Strat!

I just started doing customizing on the JTV over the last couple days; way cool! I can't believe it took me so long to start using Workbench HD! I had wanted to dial in some "5 string" Keith Richards style open tunings. I can say, that setting the low E string volume to 0 definitely works, the note is just gone. Now I gotta learn the corresponding open chord shapes, to play in the various open keys, but the sound was stellar. Key is to play the amp loud enough so that you cannot hear the acoustic sound of the notes being played on the actual guitar. I just lived with the stock models, did the update, never rolled back, etc. I always noticed that huge volume jump between the mags and the models, just never realized how easy it would be to mostly balance the levels. I get that the model it represents is being accurate by being lower in volume, but for use with similar patches, having the ability to swap between the various models and not need to re-dial in the HD500 patch each time, is definitely cool. There is a resonator model that is really nice, I like it better than either of the two 12-string acoustic guitars, so I moved it and another reso model over to the acoustic bank, and put the two 12 string acoustics in the reso bank. I also had not paid any attention to the two custom banks; you can do a cool mashup of your five favorite guitar models. I also started to realize the logic behind how you set your models on a JTV59 - which has a 3 way switch with a toggle, meaning one model will always be in that center position whether the blue light toggle knob is on or off. This also sets up instances where you set a pair of models in an A/B type configuration, say in the first slot, with the alternate being the same position, but with the blue light toggle engaged.

If you figure that out, let me know! I have both the DT25, and L2t. Have stuck with the DT mostly because my band is using the L2t's as floor monitors. But I have liked that full range sound for the acoustics. Definitely a challenge to get the JTV acoustics sounding nice and sweet through the DT25. But for electric sounds with crunchy amps, the DT25 is amazing, and I prefer it to the full range / studio direct tone. A conundrum, since the HD500 uses the studio direct or combo poweramp as a global setting, I don't think it changes on a per-patch basis.. One solution, would be to process the 1/4" out from the JTV into the L2t without using the HD500 as an interface. You would do something like, turn on the HD500 tuner to mute the Dt25; and use the 1/4" out from the JTV direct to the L2t. Or possibly by inserting the 1/4" signal from the JTV into the HD500 FX return, post amp model; not sure what that would do actually might have just accidentally stumbled across a good idea..

I always had issues trying to use the HD500 direct; but that being said, with a good stage set, and a dedicated monitor, you probably won't have too much trouble making it work. Whenever I was trying to do the direct to PA rig I like using the DT25, and it does make a good partner for the HD500. For your situation, without the extra $1000 to spend on a DT amp, you can probabluy still make it work. If you have *any* decent working amp with an FX loop, you might be able to go that route. Set up your patches using full amp models, and using studio/direct. Run the 1/4" left(mono) out to the FX return of the amp, and feed the main mix with the XLR output. Be aware, that if you only use one of the two XLR outs, you will want to pan your mixer on the HD500 center, the XLR outs don't sum to mono if you only plug one in. But going direct, you could do some cool stuff with the stereo effects: ping pong delays, chorus, panners, phasers, etc. Another good option is to use a keyboard amp, since it's full range / flat response.

The black JTV69 is on sale at Musicians Friend for $800 before the rebate, so it would be $650 after rebate. But it's just that black body color with the HSS pickup configuration, with rosewood fingerboard. http://www.musiciansfriend.com/guitars/line-6-jtv-69-variax-electric-guitar?rNtt=jtv69&index=1 All the other models are at $1000 before the rebate. Sweetwater is doing a deceptive thing, where they are advertising the 'after rebate' price, but they are still charging you the full $1000, so that's kinda weird the way they did that.

Yeah, I use an M13 in the FX loop of the HD500, and usually run it at the end of the HD500 signal chain, before the looper. Mostly for extra delays and reverbs, stuff like that. Sometimes I program the FX loop block in the 'pre' amp model position to get extra drives, comps, and autowahs. I run the FX loop in stereo - the send from the HD500 is a single jack but it's stereo so you use a TRS or insert cable; I've got a pair of cables I use specifically for that. One is TRS/stereo or whatever that is to a pair of mono L/R 1/4" jacks. The other cable is just two mono 1/4" L/R jacks on each end.

Regarding Japanse made instruments, of all my gear, my favorite guitar is a made-in Japan Fender acoustic guitar that I paid $20 to buy, spent around $150 repairing it. Beautiful tone, plays fantastic. Can't comment on electric guitars, but I wouldn't dismiss something as being in any way inferior for being Japanse!

What kind of amplification are you using? I guess that doesn't really matter, if you are comparing what you liked in the X3 vs the new HD models. But it does seem to make a big difference. Running studio/direct? Or going into fx return of an amp in combo or stack poweramp mode?> I use my HD500 with a DT25, and every single amp model sounds better through that amp than through any other device, and I've tried many, many options to amplify this thing. I also tend to prefer the combo/poweramp version, with no mic modeling. Check the mic settings, dig into the various options that exist on the HD500 that did not exist in the X3. Also, as someone noted in a previous comment, set the inputs to different sources, that seems to alter the overall "fill" of the tone. More headroom possibly, allowing greater volume before breakup. IE, set input 1 to "guitar" and set input 2 to "variax"

Anyone actually tried this? I keep intending to, haven't gotten around to learning how to play the 5-string open G chords that Keith Richards uses!

The key to what Radatats has told you is this: the FX Loop in the HD500 can be MOVED in a per-patch basis. It can also be switched on or off with a footswitch assignment, which can be very useful. By using the HD500 effects loop, you can position that outboard FX pedal in the optimal position, if you put it in the DT25 fx loop, it will come after all the HD500 effects, which may not be what you want. ALSO, with the HD500 FX loop, you can set the signal as stomp box level or line level. You also have control over both the send and return levels of the FX loop. The DT25 FX loop does not offer any of those options. The HD500 effects loop can be run in mono or stereo, the DT25 effects loop is mono only. That Korg SDD-3000 pedal, is it a digital delay pedal? I would put that in the HD500 FX loop, set the signal strength to 'stomp' (not line level), and I would place the FX loop block near the end or at the end of the signal chain. Yet another benefit of using the HD500 fx loop, the Korg will be sent through the HD500 looper.

I would also give a vote to Sweetwater; the two year coverage is a major bonus that none of the other companies offer, for free at least. If money is an option, as it was for me - also, the price has dropped, so most places have comparable prices - but I bought my JTV59 from Zzounds back in the start of this year. I couldn't afford it all up front, and Zzounds does an 8 payment option; Sweetwater does a 3 payment option. At the time, the JTV59 in Tobacco sunburst was $1500 everywhere, but Zzounds agreed to price match an online sale that Musicians Friend had going. Looks like they are now $1,000 at most places, most models, and subtract $150; so $850 total, no tax if you buy online. Single Coil, JTV69s, maple neck (Sweetwater) For anyone else no needing maple or single coil, the black HSS is on sale at Musicians Friend, and you could probably Zzounds to price match that, but Sweetwater probably won't price match.. Worth asking I guess! When I bought my JTV59, Zzounds price matched to around $1000, and did the 8 payments, so I basically paid $125/month for 8 months. Musicians Friend has a sale going on the JTV69 HSS in black for $799 ($650 after rebate)

I think I have been doing that, even though I am running in mono. Gotta get that second DT25 eventually! I use a cable that goes from the single HD500 send and it splits into two mono L/R cables, then a standard connected L/R stereo 1/4" to 1/4"

I should amend my total, since the JTV's are dropping in price! JTV for $850 right now with the rebate..

I have tried that option, extensively, in many different variations, and I just have a problem hearing myself properly coming from floor monitors vs with a more standard amp on a stand behind me.. I do have some nasty hearing loss in one ear from ear infection when I was a few years old, that definitely doesn't help. But - and this is just me, your suggestion is definitely a good one, and for many many people, that is exactly how they run the HD500 - I prefer the sound of the amp with no mic modeling as my primary signal. When it's studio/direct, there are definitely more options overall, with which mic model and the corresponding settings, but I just gravitate towards that 'combo/poweramp' mode. Plus, I think that while the amp models are excellent in studio/direct mode, there is a special kind of magic that occurs when the Bogner power amp in the DT merges with the Line6 pre-amp models. I also really like the DI out from the DT vs the XLR out from the HD500. It sits really well in the mix with the other guitarist, who we run a Shure Beta 57 on his Fender Tweed tube amp, his rig is all analog pedals. I think that the transformer tapped DI XLR out from the DT adds some warmth and packages the sound up quite well for use on a live stage. I did use my HD500 for four years with other amps and various assorted options. One good solution, if you like to run the XLR from the POD in studio direct, but need a good power amp option, is a keyboard amp. You can get one of those for not a ton of money, and it will definitely do a good job of rendering the full studio/direct power of the POD.

Make sure you are using high quality AES/EBU cables! I bought a bunch from BestTronics in Tinley Park, IL when I got my M20d; you order them in whatever length you want. I have a pair of 10', a pair of 20', and a pair of 30'. They are excellent and have never given me any trouble; in linking from M20d to L2t's or from HD500 to DT25. BestTronics AES/EBU Male to Female 3 Pin XLR AES/EBU Digital Cable using Belden 1800F Cable http://btpa.com/AES-EBU1-XX.html

Yeah, Sweetwater pysched me out with that pricing! I was thinking it was $850 - $150 = $600, but alas, not so. The price on that black JTV69 looks about right; funny how the less popular colors / finishes get the bigger markdown - same guitar, same models, same piezo's.. Too funny.

Get a decent pair of monitors; 5" is plenty loud. Something like M-Audio makes some decent budget friendly options. The speakers are crucial; but you can get away with some low cost options to start with. Sweetwater has a deal going on some M-Audio speakers for like, $50 each after rebate. Including isolation pads, a pretty sweet price! http://www.sweetwater.com/store/detail/BX5D2S You will need a decent soundcard; the purpose of an external card, is to reduce monitoring latency; IE, the lag time from the playback to the recording. When I was starting out with recording, I used the built-in soundcard in my PC, would do overdubs, and couldn't figure out why the tracks I had just recorded were not in alignment with the tracks I had been listening to while doing the overdub. I've used an M-Audio Delta 1010 soundcard for a bunch of years now, amazingly it's still good quality, though it's a bit overkill for what you need - 8 channels in and out; used to do full band multitrack recordings, stuff like that. Line6 makes some good options; you will define the soundcard as your audio in and out; the output to the speakers will be connected to the external soundcard, most likely connected to your PC with a USB cable. Software, you should be able to find some free recording software to learn the basics until you can afford to buy what you really want. Some of the recording softwares will do free one month trials, Adobe Audition, Pro Tools and such. Take a look through craigslist, and places like that - look for someone selling a used M-Powered Pro Tools setup or something along those lines. Sweetwater has Pro Tools 11 bundled with the Eleven Rack for $640. That could be an excellent option if your budget can deal with the added cost. Sweetwater will do a three payment plan for like, $220 a month for three months. I have that rig, and it's pretty solid. I have been finally learning how to actually use ProTools! Lots of tutorials and videos and learning options for everything you need to know. The Eleven Rack is an excellent stand alone piece of hardware, comparable to a POD rack mounted option. The key is, the Eleven Rack also functions as a soundcard with zero latency monitoring. It also does a good job of doing 'reamping'; where you have recorded a dry guitar track, and you output the dry track through the Eleven Rack to process the signal, and send that processed tone back to the recording to a new track. Or through an external amp, with a mic on it, stuff like that. For that matter, the POD HD500x is a soundcard; though that is not it's primary function, it does give you some killer direct recording tones, and an ease of transition for bringing amp modeled guitar fx tones to the recordings There are all sorts of soundcard bundles too; look for options that have full duplex in those tinier boxes; the ability to send and receive two channels, which can be two mono inputs, or a stereo input. Some will jump up to 4x4, that can be useful if you want to record more than one instrument. Many of them will have decent mic preamps; phantom power, stuff like that to power certain mics. Compare sound quality as well; you want 24bit, and 48k minimum. Don't waste your time recording in 16 bit, you won't be happy with the results. Nice sound cards will go up to 24bit192k. My really old M-Audio delta 1010 works fine with Windows 8, and goes up to 24bit/96k. Most of the recording I do lately is with the Line6 M20d, which does 24bit/48k, so that's been the resolution I've been mixing in lately. 24 bit gives you a lot of headroom, so your source audio tracks don't need to be massively gained up when they are recorded, and there is minimal noise even with tracks sitting at -20db. At 0db and above is where you hit digital clipping and it sounds horrible! Like paper ripping. Worst feeling, losing a good performance to a bad recording. Go conservative on gain settings so you don't cause clipping. Read up the reviews on the lower priced USB audio interfaces; take a look at what Zzounds and Sweetwater have in the $100 to $200 price range: http://www.sweetwater.com/c695--USB_Audio_Interfaces/low2high/pn2 Stuff like this Akai would be a good option: http://www.sweetwater.com/store/detail/EIE Take some time and read what people say about the preamps; the Analog to Digital conversion, stuff like that. You could also break it into multiple parts - my M-Audio soundcard is just 8x1/4" inputs, no preamps, no XLRs, just analog to digital conversion. Many of these soundcards include mic and instruments preamps; hence the XLR and 1/4" inputs, which is great. But you could also use an external mixer or preamp of your choice, and run that into the soundcard. Be careful about monitoring while recording; for example, using an external mixer as the preamp source, and also the output to speakers, feeding it's output into a soundcard, while playing audio from the soundcard through the mixer back out to speakers. You would want to monitor what the DAW is hearing; I've caused myself all kinds of level and latency issues not monitoring properly.

Does the "amp out" signal disable the microphone simulation?> I've been wondering about this for some time, and there is no documentation explicitly spelling it out. On the HD500 and such, the "combo front" and "combo poweramp" modes disable the microphone models, was questioning if there is a comparable setting in the Amplifi world. Seems plausible; has anyone tested that yet? Connect the "Amp Out" to the front of an amp or the fx return, dial in a tone; then change the mic model settings in the patch; any sound variance?

Line 6 just emailed me to advertise the "Lowest JTV Price Ever"; is that just the rebate, or a price drop too? For example, Sweetwater is advertising the price as $850; but that's "after the rebate"; when you add the item to the 'cart' it shows as $999. They are noting a Line6 'savings' of $400.. I guess the prices were around $1200 to $1500 previously? JTV rebate

Hmmm... Will give that a try! That's a great idea, especially as the FX settings on the M13 become an extension of the patch programming of the HD500. I could use it to recall "pre" amp model scenes on the M13 vs "post" amp model scenes without the extra tap dance. Ok, I will give it a try! Thanks for that tip, very cool. :)

I found a guy selling a used M13 on craigslist; paid $400 for a package deal: the M13, a huge Gator pedalboard with soft case, an Ernie Ball Jr volume pedal, and a Line6 Relay G-50 wireless unit.. It's been a great bargain for my band; I use the M13, and my buddy uses the rest of the stuff I got with it. I assembled a killer mostly-Keeley analog pedalboard for my buddy in my band to use; he plays a Gibson SG with a Fender tweed 1x12 40watt, so the wireless and analog pedalboard has been perfect for him to use. He's got other pedals, but this Keeley board just sounds too good. I even put his wah into a Keeley true bypass FX loop pedal. Works great; powered with a Voodoo Labs Mondo 12x power supply. Signal chain: guitar>wireless>noise gate stage 1 (tracking only)>tuner>fx loop pedal>wah>auto wah>germanium drive pedal>4 knob comp>overdrive #2>to amp front input. amp fx loop send>noise gate stage 2( noise gate)>chorus>phaser>delay> amp fx return. All that cabling and power wiring makes me appreciate how easy it is to move FX around with the HD500 and the M13!! Putting together a pedalboard like that makes me *really* appreciate my Line6 gear. It's a bargain by comparison! I spent $160 on just the George L patch cable kits, and at least $1,000 on the Keeley gear. Factor in the pedalboard, velcro, wireless unit - it all adds up really quickly. But the sounds we're getting are awesome!! I use two mics on his guitar amp, (Shure Beta 57 and an Audix i5) and run my DT25 direct. Certainly a good exercise to get a greater appreciation for what it takes to get good tone without a bunch of noise; even with the noise gate there is some dirty nasty sound that just happens.; some hum, some buzz, all that junk. Keeley is great stuff, all that power supply and cabling helps, but it's nearly impossible to set up a pedalboard like that without some kind of extra noise, which can vary from stage to stage, based on the incoming power, all kinds of factors. In general, even with the thing cranked, my DT25 is relatively noise free. Pedalboard gear list: (new / list prices) (2) packs of George L's ($80 each) $160 Gator GPT-PRO pedalboard w/ soft case $120 Line 6 G50 Relay wireless $350 Voodoo Labs Mondo power supply $300 ISP Decimator G-string II noise gate $226 Cry Baby wah $80 Planet Waves tuner $80 Keeley FX Loop $85 Keeley Neutrino autowah $210 Keeley Bootlegger germanium drive $200 Keeley 4-Knob compressor $260 Keeley 'Drive for Cure' overdrive $170 Keeley Seafoam chorus $230 Keeley Phaser $250 MXR delay $150 So yeah; figure spending $500 on an HD500x + $1000 on a DT25, and $1500 on a JTV59 = $3,000 Or, that pedalboard, for $2,871. Then you still need to get an amp and a guitar! Line6 is really a killer value, great sound, and a ton of fun. That's my take away on it, after my analog pedalboard quest, and more recently my brief foray into the Roland world, I can say I can really appreciate the Line6 stuff, even with it's nuances, quirks and oddities.