ColonelForbin

Yeah, same here. That's part of why I sent back the Roland stuff within the 45 days; I looked at the total $$ I would spend across 8 months of payments, and it was a good bit more than the cost of an L3m. I have been using the pair of L2t's as monitors and as main stereo mix with the M20d, and they are amazingly loud and rockin'. I figure if I would be better off adding some more pieces to that PA, so my band can pull off live shows without borrowing the speakers and power amp we use now! Our stage rig is the M20d + L2t's for main mix and stage monitors; I run the XLR main outs to a power amp and send that to pair of JBL 1x15's. Solid, works fine, but I'd like to do the full-StageSource rig, and add the L3m's for the two mains. We can keep the JBL rig going if we need extra sound; though I can imagine a pair of L3m's is pretty loud on their own!

I briefly considered the MIDI route, and then just decided to let that sleeping dog stay there! I have been overcomplicating things for myself for so long, I decided to keep it "simple" (it's all relative!) Don't notice any particular latency using the FX loop. I like it in the loop at stomp box setting, I think? You can set the loop to stomp level or line level. I just treat the M13 like a big pedalboard. Haven't used the FX loop in the pre-amp slot as much, I mostly use it for delays, reverbs, chorus, and auto-wah. I find the chorus and autowah a bit intense in the post position, but the DT25 handles it all quite well, and repackages the sound nicely. I was running it in stereo through the loop, but might try it in mono, since I am just using the one DT25. I could see the M9 being a nice compromise; smaller footprint, don't need an entire extra pedalboard case! I have the M13 in a case by Diago, and the it fits perfectly side by side with a TC Helicon Voice Live 3. It's snug, but perfect fit, and the lid lip is low enough to allow the cables to fit fine into the backs of the two units. I need to sort out how to arrange the stuff in stage format; I was basically spreading the two boards with the mic stand in the center. I haven't sorted out whether I prefer the M13 to the left or to the right of the HD500, and the left/right position of the VL3 next to the M13. It is definitely a tap dance sitiuation, but I program FS4 on the HD500 to switch the FX loop on/off. So that's my "Oh, Lollipop" kill switch, in case I get weirdness from the M13. I also use it like a "hit" switch, within a single patch - so I can trigger up to the four M13 FX in one switch without the switching of the amp model. I am setting up the HD500 with the four FS switches and the four patch change switches. Typically configure any given four patches on a bank to be variations of a theme. Maybe increase the amp drive settings across the four, stuff like that.

Yeah, was a big difference for rehearsal. Really came down to playing technique though; the GK pickup and the PCM midi stuff requires a certain approach to the guitar, how to pick, how to fret, where your palm rests, all kinds of things you don't think about. It also takes the quality of the actual guitar *tone* out of the equation. It really just becomes a grid of notes that trigger pre-recorded sounds; you cannot edit the sounds, you can't adjust trails or sustain. When the note triggering the sample decays enough, the sample just ends. It was a weird disconnect from the playing of the instrument, and quite frankly it made me miss the simplicity of what it felt like to play guitar. Quite subtle, but crucial. I think the non-PCM stuff might be a different experience; but, it didn't make me feel like the JTV was in any way lacking, in fact, it made me appreciate it that much more! Funny how that works. I will reiterate; the M13 is an AWESOME add-on to the JTV-HD500-DT25 rig. Very excellent!!! Thus far, the best sound for what I want to do, in terms of amplifying the HD500, is with the DT25 - and- running the XLR di out from the DT25 into the M20d mixer, and monitored through a pair of L2ts' with the rest of the band mix. The DT25 just cuts through, with ease. I don't spend a ton of time trying to endlessly tweak EQ or gain or anything else to get the guitar to sit right in the mix - which I always had issues with when I was using the HD500 in studio/direct mode, while also trying to play with the full band.

Anyone tried creating any Keith Richards settings for the JTV>? By that, I mean, -5 string (mute the low E 6th string) -paired with the open tunings he uses. I've been listening to the audiobook for his autobiography, "Life" (read by Johnny Depp!) It's quite a fascinating book, way cool stuff. I got all excited about learning his open tunings, and trying that 5 string concept with my JTV, muting the low E rather than removing it from the guitar. Plus, with a single button push, toggle back to the mags for regular 6 string tuning. Gonna mess with that tonight, will report back if it works awesome ;)

Quick update - I just shipped the Roland GR-55 and GC-1 back to zZounds yesterday. And, in a total opposite of the OP, I am firmly 100% sticking with my Line6 gear! I bought a replacement power supply for my M13, and that is now back in the FX loop of the HD500. Sounds awesome through the DT25! What's cool about using the M13 in the FX loop of the HD500, is that it's position can be moved on a per-patch basis. So you can have it in the post amp model section for delays, chorus, reverbs, etc, or you can put in the front of the signal chain, or right before the amp model, etc. Very excellent and versatile expansion of the HD500 FX models. Same stuff, just more of it! A bit of a tap dance routine, but it really sounds great. And you get delay trails, even when turning off the FX loop. Using an FS on the HD500 to switch the FX loop on/off is also really cool. You can pre-tap the tap tempo, and queue up multiple fx to be on, then hit them all on or off with a single footswitch. Being able to run two different tap tempos is also cool. Stuck on the plexi amp model, loving it. Here's my take on the Roland stuff: way fun. but not for me. too much adjustment to make in playing style and technique, and it was making a mess of things, trying to overlap guitar tones from the Line6 side with essentially 'keyboard' sounds from the Roland PCM / synth, etc. Still have my eye on the Boss GP-10, but no time soon. I need to save up some $$ to get a couple of L3m's and another L2! :)

Yes, what Scott said! I used my HD500 this way for a long time; by running a signal to the FX return on an amp, you are basically tapping directly into the power amp portion of the amp, and bypassing the preamp, EQ, drive, etc. Which is ideal for a unit like the FX100. The FX100 will be the master volume for the amp, however - most often, the dials on the amp won't impact the sounds or volume, with the exception sometimes of the reverb on the amp; that is often applied in that position of the signal chain (last). I used to put delay after reverb; realized with an actual amp, if you have a delay pedal in the loop, it will occur before the reverb. Someone advised me to think of the reverb as the sound of a room; you run the delays repeats into the room, vs running the room into delay repeats. Largely subjective, but it does help to at least start with a traditional manner of sequence, then deviate as needed. So yeah, you should be good running the FX100 into the FX return. From what I recall, the 'guitar out' or amp out on the FX100 is the main signal without any of the streaming audio; the main L/R outs are the guitar/amp tones and the streaming audio. Either would work, just use the Left/mono if you want to hear the streaming audio, use the other single jack if not.

Yeah, try running it into the FX loop return.. From what I understand of the FX100, you cannot turn off the mic modeling portion of the signal. So, it basically wants to be 'full range flat response'. I tried running my HD500 into the FX return of the DT25; it worked fine, but I prefer the expanded options of the HD500 series, especially the 'combo poweramp' mode, which disables the mic model, and just does the amp and cabinet modeling. Personal taste, it's largely subjective. Before I got the DT25 earlier this year, I used the HD500 for four years almost all the time in 'studio/direct' mode, running into the FX return of a 1x12 Fender combo, while also running the XLR signals into the mixer. I struggled with trying to work with that sound which includes the mic model; I just prefer the more raw "amp in room with you" sound, and with the DT25 I still have a PA / mixer friendly XLR out which does some kind of mic modeling, albeit not as configurable as the studio/direct mode in the HD500. If you can get used to hearing that amp+cab+mic sound as your primary tone, you will have no major issues with the FX100; it's got a ton of amp models and lots of cool FX; I didn't go that route, but I checked out the Android app, looks cool. If you have a DT25, it's well worth your time to at least give it a spin with an HD500 using the Line6Link. Whole other world, I'm stuck on that, I dig it too much! At rehearsal, we record with an M20d, so I mic the other guitarists amp with a Shure Beta57, and run my DT25 XLR to the board. The two signals work fine in the mix together, the DT25 holds it own in terms of volume against his Fender Blues Tweed 40 watt. Primary benefit, is the isolation of the DT25 signal, no mic bleed from the rest of the band. But that route is a very different route from the Amplifi / FX 100 stuff, not trying to talk you away from that in any way!

Are you using the front input of your amp? And/or the 'four cable method'? Any of the Line6 floorboards (M13, FX100, HD500, etc) could be accurately described as being able to save 'scenes'; the biggest distinction is the amp modeling. For example, the M13 is *only* FX, no amp models. The FX100 has amp models and FX, however, near as anyone can tell, you cannot disable the Microphone Modeling on any of the Amplifi tones / patches. The HD500 has all the same FX as the M13, and it also has amp models - all of which are the "most recent" amp and fx models. The FX100 / Amplifi is the newest equipment to be released, and focuses primarily on the bluetooth aspect and the "app" control - the actual fx and amp models are derived from the older XT/X3 era. Here are some examples of setup; you could approach this in many different ways, but in general, currently, the HD500x offers the most overall flexibility for input, output and modification of the signal process - while also incorporating the newest 'HD' amp models and 'M-class' FX. For example, with the HD500 you can choose to disable the microphone simulation (combo/poweramp) vs leave the mic models on (studio/direct). Lets say you want to send a direct signal to the main mix or PA via XLR, but also send a 1/4" to the FX return of your amp. In that case, studio/direct will give you the ability to let the HD500 do all of the signal processing, and the sound going to the house mixer will be equivalent to the sound being sent to the fx return of your amp. Combo/poweramp mode (on the HD500) TURNS OFF THE MIC MODELS, which typically means that you would not get a good signal via the XLR; instead, you would still run the 1/4" to the fx return of your amp, then you would have them place an actual microphone on your guitar amp, and use that signal for the main mix. The distinction is crucial, and near as I can tell, of those three options (HD500 - FX100 - M13) the HD is the only version which gives that type of control. For me it's the difference between the sound of your amp in front of you, vs the sound of your amp as heard in the control room, mic'd up, and you are hearing it through speakers other than the actual amp. The M13 is a totally different option. It models stomp boxes, and can be used in front of your amp, or in the FX loop - but there is no 'amp modeling', so you would still be depending on your actual physical amplifier to create the amp+cab tones, and you would likely need to then mic your amp to get sound to the PA. You could run the M13 in front of the amp, IE, guitar->M13->amp front input. Or you could run it in the FX loop, IE, guitar->amp-fx send->m13-fx return. For years I used my HD500 going 'studio/direct' to the main mix while running a 1/4" to the FX return of various 1x12 combo amps, and used them solely as a powered speaker. Earlier this year, I moved into a DT25 amp, so that changed my process quite a bit. i won't go too much into that, but the HD500 is also the only option of the those three which has a VDI input for Variax, and Line6Link, for use with the DT25 or DT50 amps, and/or with the L2 and L3 StageSource speakers. The HD500 is also the only (of those three) which has USB out for direct to computer recording. (so far... that feature/function *might* be added to the FX100 later in a firmware update, but.... who knows). The HD500 has XLR outs, FX100 and M13 do not. In that sense, the FX100 is the only option that can be used with Bluetooth and the iPhone / iPad / Android app for editing. I probably should have asked this first: what is the amp you intend to use this with?

I added an M13 to my HD500; makes for some interesting additional "tap dance" tone options. In particular, I place the M13 in the FX loop of the HD500 near or at the end of the signal chain, and mostly use the M13 for reverbs and delays. Frees up some extra "pre" amp model FX, and leaves DSP open, in terms of using the particle verb on the M13, stereo delay, etc. With the M13, it's up to four FX on at once - however, they are basically in columns of three buttons per column, and there in no restriction on the type of effect, or how you organize them - essentially a large configurable pedalboard. So, it makes for some interesting usage in that regard, a sort of extension of the tone already available in the HD500. Can be very useful if you want to run direct, in stereo to the mixer / PA / recording. Also useful if you want to use two full amp models in the HD500 (uses lots of DSP that way). If I am using it with the DT25, I just run the M13 in mono in the FX loop. If I am going direct, I run it in stereo. Hd500 fx send -> M13 input(s) -> M13 output(s) -> HD500 fx return. Also give you the freedom to move the fx loop block around, depending on how you want to use the M13. Maybe you prefer fewer reverbs and delays, so use those in the HD500, put the FX loop block near or at the front of the HD500 signal chain, and use the M13 for lots of "on deck" drives, comps, phasers, etc. Sometimes I don't like to program the patches to perfection, rather to decide in the moment which FX I want on or off, or in which combination. Lots of versatilty there! The M13 can save the "scenes" of FX groupings, so it's easy to switch from a series of "pre" FX to a grouping of "post" FX.

I can imagine this must be a huge undertaking for them! I've noticed such little conformity between the various brands of "semi cheap" Android phones that I've owned and used up over the years. Things like, most of my previous Android phones would not allow apps to be installed on an external sd card; had to go on the internal card. Then the internal card would come loaded with pre-installed software that cannot be removed (I use the pay-as-you go no contract Virgin Mobile style phones, which may be part of the limitation I've experienced..) But yeah, kudos to L6 for having the stones to even attempt such a concept! It does appear, from the myriad requests over the last several months, that people both 1.) really want to use this with an Android app, and 2.) have no clue how difficult such a project turned out to be for L6. To keep the Star Wars quotes going, "Impressive. Most impressive." :) Cheers!

Good analogy; like you said, it's the FX only, no amp modeling. The price tag is still a bit insane though!

I did leave the monster Keeley pedalboard out of the equation! ;) Actually, my buddy playing the other guitar is using that ensemble - and it sounds pretty freaking awesome. As yet another aside to the OP, the ISP noise gate pedal is a real standout, quite a nice piece. You take that stuff for granted using noise gates on the POD gear, but with analog pedals, this thing does the trick. It "tracks" the dry input from the guitar, to know when you are actually playing; so if it hears noise in the actual noise gate stage, but nothing coming from the guitar it knows to gate out the sound. Can totally mess you up if you are using a looper however, but in this case, it works like a charm. Cuts the noise without chopping off sustain of notes as they decay. Incidentally, while I dig the over the top sonic mayhem of the L6+Roland, for the cost of what I will end up spending in the 8 payments for the Roland GC-1 + GR-55, I realized I could basically get a pair of L3m's, which might be what I end up doing.. Getting the electric band back together makes me realize how crucial main amplification is,and all the cool gear in the world won't do me a bit of good if I can't pull off a main mix to the audience! So, for Zzounds it's a win-win, they still get my money. Sorry Roland!! I like my Line6 more, maybe next time. COSM, I remain just 'eh' about. Four years into my HD500, and the amp models still sound amazing. The irony just occured to me that I've gone off the deep end on a post from a person saying goodbye to Line6 in favor of Roland / Boss; when I did just the opposite. "You say goodbye, and I say Hello! I don't know why you say goodbye, I say Hello!" :)

+1,000 to that! My lower back punishes me every time I lift heavy gear improperly anymore; I have no clue how I used to be able to pick my 4x10 SWR bass cab up by myself for load in and load out. The DT25 is pretty heavy; though my old Ampeg 1x15 bass combo amp still weighs a bit more. That thing is a beast, it's seen hundreds of gigs, torn up looking, dirty, ugly and still cranks clean and loud. I debated between the DT25 combo vs the head+cab. If I ever add another DT to the rig for stereo, would likely get the head+cab, just for the tonal variety between the semi-open back of the combo vs the closed back 1x12 cab.

When you see the list of supported Android devices you realize the enormity of the challenge Line6 was presented to get this app out for Android! There is only ONE Apple hardware to worry about; possibly two, if you consider iPhone vs iPad, but for all intents and purposes, those devices are nearly identical. Android, however... here's the list I see thus far; of course, as my luck has it, my brand new Android LG phone isn't on the list.... lol! :) Samsung Galaxy S5 Samsung Galaxy S4 Samsung Galaxy S III Samsung Galaxy Note Pro Samsung Galaxy Note II HTC One M8 HTC One M7 Motorola Moto X Google Nexus 7 Amazon Kindle Fire HDX ASUS MeMo Pad ASUS Fonepad ASUS PadFone LG G2 LG Optimus LG F7 LG Nexus 4

I had a bit different results "at volume" last night, playing with the three piece of our band - guitar, guitar, drums. Took a while to get the gear all setup, but I can say, the L2t's continue to impress. I ran them as just mains 1 and 2 off the M20d instead of as monitors, and with the L2t's at 1/2 volume, and the mixer dials set to 0, everything was loud and clear with a ton of headroom and not a peep of feedback. You could literally use an L2t or two as your main speakers at a smaller / medium gig; they held up with all the drums and the guitars pumped through at full mix volume. Since the kick drum sounds that huge through the smallest of the StageSource speakers, I can imagine it must be thunderous with the L3 subs and mains.. I just used the stock M20d presets for snare, kick, and hi-hat (one overhead mic). Put a Shure Beta 57 on the guitar amp, on axis; next time will likely add a second mic to his guitar amp, off axis, maybe a different mic for the second cab mic. I had my main guitar sound being VDI-JTV59-HD500-L6link-DT25->DI-XLR to the mixer. Had also previously run both XLR from the HD500 to the mixer, so left those in place, though once the DT25 was in combo/poweramp mode, it likely wasn't the best signal quality. (M20d, I just record all the inputs rather than the main mix, then mix it together in ProTools). And then I had the 13-pin cable from the external GK pickup to the GR-55, stereo 1/4" to the mixer. If I stick with this rig, I would likely get the GR-55 off the floor; and I would need to cable tie the VDI and the Roland cables together on either end; it's a weird feeling have two or three cables hanging off a guitar! Anyway...it was pretty awesome. Way beyond my ability to really control what I was doing, in terms of the GR-55 patches but I wasn't having major issues with it sounding out of synch or suffering from latency in a way that compromised playability. I would play my guitar parts with the HD500-DT25 as the main tone, and then using the GK control on the guitar, changes patches and adjust volume up, down, off. It's cool to roll it all the way off to bring it way down; or bring the DT25 way down and just use the GR-55, or go full hog and turn them both on most or all the way up. It would appear, that with some proper time spent dialing in some patches, and possibly by triggering the GR-55 patch changes via MIDI from the HD500, it could be quite an interesting compliment to the Line6 gear. I will need to listen to what I got for recordings; mostly for that alignment issue, but also to see what the GR-55 tones sound like alongside the JTV/HD500 stuff. I will also need to do a more specific test of the PCM vs the modeled stuff on the GR-55; but in general, I am not rushing to return the gear just yet. Need to give it a proper test with some user created patches on the GR-55, and see what happens. On a side note, my M13 wouldn't even power on, not sure what's going on there, hoping it's just needing a new AC power supply or something like that.

For use with the JTV gear, in terms of Line6 equipment - you would want to look at the HD500x, the DT25 and DT50 amps, and the StageSource L2 and L3 speakers. Those are the actual "latest and greatest" that L6 has to offer. "Flagship" is the word that describes the HD gear; not so much the Amplfi. The Amplifi is using several year old (X3 era) amp and fx modeling. The newest amp and fx modeling is in the HD500x, and the M-class FX (M9, M13) The older generation POD's still accepted VDI for the Variax, but I think the Amplifi is intended to appeal to a different buyer. It's a POD in a bluetooth speaker box, without the proper input and outputs. In terms of price, it's half the cost of a DT25, with the full litany of amp models and Fx one has come to expect from L6 - in that regard, and at that price, it's certainly no slouch. The DT25 has no onboard FX; just the HD amp models. The Amplifi app looks *really nice* though; I like the idea of editing my tone patches with an iPad, cool idea. A slight aside here : the HD amp models are superior to the Amplifi amp models in every way possible. I liked the old X3Live, it was really great at the time. The HD500 is a definite step up; they reinvented the process for modeling the amp characteristics. They then partnered with Bogner, who created the DT amp series which can switch analog components on the fly, to actually be the power amp portion of the amp model. The HD500 can model both the preamp and power amp part of the amp model; when you use Line6Link (another feature you will not find on Amplifi) the HD500 models only the preamp portion of the signal, and the Bogner/Line6 DT25/50 "becomes" the actual poweramp. Analog relays, switches, power use, etc. It actually changes from triode to pentode, not just modeling the difference between Class A and A/B, it actually changes itself between those power amp typologies. It's worth mentioning, in defense of the X3 and the Amplifi - there are way MORE amp models. The X3 was the XT guitar+bass models in one unit; where previously you had either XT for guitar or XT for bass, they merged them. I think that was around the time they did away with paying extra for expansion model packs. So, while the HD series amp models are a step up in overall sound quality, the sheer number of options is not there, and for many, the improved sonic quality does not outweight the HD omission of the 5150 amp, or the bass amp models, things like that - if you look at IdeaScale, you will see many votes for adding the 5150 amp model to the HD series! They added one bass amp model to the HD500 series after the release, in a firmware update, with it's corresponding cab and mic settings; but nothing else since, in terms of bass amp models. I used to play bass in a band, and I tended to use my X3L for the FX and the DI box use, rather than the actual bass amp models. It gets tricky with bass, the recorded sound vs the "live sound" - you always need to push air on stage, and I had issues getting that to work the way I wanted. I eventually moved back to guitar, and put down the bass, and adjusted my rig accordingly. Actually sold my X3L to a bassist so I could buy an HD500 when it came out! In terms of the Amplifi target buyer, it would appear the lack of proper 1/4" and XLR outputs is by design, and probably goes with the intended use - this is not the amp you bring on a big stage. It certainly isn't a "recording" solution; it has no functionality in either regard. Something about putting a real mic on a signal which already has mic modeling on does not sound good.. The mic modeling (near as I can tell; there is no proper manual) is "always on". AKA, 'studio/direct'. Which is great when you are connecting XLR outs to a PA or mixer, but not so good for putting a mic in front of the cabinet. The Amplifi floorboard at least has stereo 1/4" outs, and a "guitar amp" 1/4" out which just drops off the Bluetooth / streaming music portion of the signal.

My first impression of using the GR-55 with a GK pickup on my JTV59, and with a Roland GC-1 strat: Way Too Much Latency!!!! Specifically, latency when triggering the PCM samples. I can't imagine it will be feasible for me to run the JTV vdi to the HD500 while also sending the GK signal to the GR-55. Triggering the PCM is like a disconnect from the experience of playing the guitar. It becomes a "one or the other" type experience. I realize that with the non-PCM stuff- the COSM guitar and instrument modeling it does not have this latency issue, but I didn't get the GR-5 with those portions in mind - and if I was going to do without the the PCM, I would lean toward the newer GP-10. The latency on the sixth string is particularly bad (documented apparently), which is odd. I suppose you can adjust your playing technique, to compensate for the latency - but no way I am going to mess myself up trying to relearn how to play guitar to accommodate the limitations of the technology. To compare with a keyboard for example, if I load a drum kit on the Roland keyboard, there is no difference in trigger time on any of the keys of the piano. However - if you load a "drum kit" preset on the GR-55, the low-E string is the kick drum, the F# (2nd fret, 6th string) is the snare. I found it very difficult to properly trigger anything more timing wise complex than a "kick-snare-kick-snare". Trying to do "kick-kick-snare" fouled it up, like it couldn't react quickly enough to the same note being played twice. But it was certainly an eye opener! Or, in this case, "ear opener" Though, there are other factors, like the 13 pin cable. Something about the way that cable plugs into the guitar is not good. I expected that from the external GK3, but it also feels "flimsy" when connected to the GC-1 which has all that stuff built in. By comparison, the VDI cable I bought from BestTronics (and the Line6 brand VDI) is FAR more sturdy. I realize it may be an issue of playing technique, pickup installation, configuration, etc. But, it makes me really appreciate my Line6 gear. In the end, most likely, the Roland GR-55 will be going back to Zzounds. As for the GC-1, I'd like to try it with a GP-10, but the quality of the instrument is not awesome. It's not *bad*, but it doesn't hold water next to the Korean JTV59 or my USA strat. Especially next to my US strat, it's really lacking. The consensus at the moment, is that I am glad I got this stuff with a 45 day return policy, and using the 8 payment method, I am not out a ton of $$ while attempting to determine all these factors. Will definitely give it another solid attempt, two or three - but, the end result is making me *really* appreciate the Line6 gear I already have! Funny how that works....

A tangential question to that: Can you disable the mic model sims on the Amplfi? As I understand it, it's basically like being in 'studio/direct'. The mic model is always on, you can tweak amp model, cab model, mic model - but you cannot go into what the HD500 calls "combo/poweramp", IE - the sound of your amp in front of you, vs the sound of your amp with a mic on it going to a mixer or PA. Is that accurate?>

I started searching for more specific info, no luck yet! I checked IdeaScale, and I don't see a specific thread requesting the option to disable the mic sims on the Amplifi. I would hope it's something which can be updated in future firmware, no clue though. A big part of it would be all the existing patches would likely have issues if they added something like that, I am not certain which aspects are "hard coded" and which are "flexible".

That is what the HD500 simulates in Combo/Poweramp mode. For example, if you Line6Link an HD500x to a DT50 amp, the HD500x will automatically go to the output mode which matches the amp - if it's a combo amp, it goes into combo/poweramp; if it's the head+cab, it goes to stack/poweramp. Which is, as you described, the modeled sound of the Fender Twin (preamp), in front of you. In the case of using the HD500 with a DT amp, the Bogner portion of the DT amp actually "becomes" the poweramp portion of that amp. But that is specific to the DT series. If, for example, you took the HD500 output, in combo/poweramp mode, and plugged the main 1/4" output from the HD500 into the FX RETURN of the generic guitar amp, you would be listening to the HD500 model the preamp and poweramp characteristics of the amp model you select. The Amplfi is not in the same league as that HD and DT gear though, so it's not quite fair for me to compare them like that. Yes, the Amplifi is newer. No, it's not newer amp or fx models - it's from the old X3 era. Re-packaged for a bluetooth iPad app based experience. Which is fine, totally cool! They make a good point, the HD500 editing screen (on the actual pedalboard) is pretty minimal. Using an iPad to edit that on the fly would be stellar. And it's quite possible, that since the Amplifi is so much driven by the programming of the "App", it's not inconceivable to think they might be able to address that output mode choice in a future software/firmware/app update. Perhaps check out IdeaScale? Someone may already have that idea which you could add your vote too, if not, you can create that suggestion. I am guessing you are not alone in wanting that type of control

I would guess this is not an option with Amplifi; though I won't know because there is no proper manual...(yet) This *is* the exact way the HD500(x) works however. You can setup the output modes, to either emulate the amp model + cab model with or without the mic and room. So, in theory, since the Amplifi is the "Guitar Amp Reinvented", it should offer the same output modes which are standard in the POD series, such as the HD500, HD500x, X3Live, etc. I doubt the Amplifi offers these output mode options though. I think with Amplifi, you are basically stuck in what the other Line6 amp modeling devices call "Studio/Direct". Which is weird, because the Amplifi has no proper outputs, and you really wouldn't want to listen to 'studio/direct' through a regular guitar amp speaker, it would make more sense to be in combo/poweramp, but since it does give you mic options, your guess is as good as mine! HD500 Advanced Manual Take a look at the HD500 manual, and look at the 'output mode' settings. Combo/Poweramp = amp model + cab model Studio / Direct = amp model + cab model + mic model (+room) If you can find anything that resembles those settings in the Amplifi, then you are on the right track. :) HD500 System Setup 2•8 Page 4, Setup: Output Options The Mode setting on this page allows you to configure the type of signal fed to your POD HD500 analog outputs to optimize for direct recording versus connecting to an external amplifier. Note that this Mode setting affects the signal fed to several POD HD500 outputs: Balanced, Unbalanced & Phones outputs as well as USB Record Send & L6 LINK audio outputs. Knob 1 selects the Output Mode. This is a global setting. • Studio/Direct: Typically the best option when connecting “Direct†to a mixing console or recording device. This signal includes “Studio†Cab Models, Mic Model and an “AIR†convolution to best emulate a mic’ed amp within a room. • Combo and Stack settings: Optimizes your tone for connecting to an external amplifier. The signal includes “Live†Cab Models,with no Mic Model or “AIR†convolution, with a special EQ curve added for each. • Combo Front & Stack Front: For connecting into the front input of a typical combo amp or amp head + external cab, respectively. When choosing either of these Modes, you’ll see the following additional options for further tone shaping: Lows (Knob 2): Attenuates the low frequencies. • Focus (Knob 3): Increases the overall midrange. • Highs (Knob 4): Attenuates the high frequencies.System Setup 2•9 • Combo Power Amp & Stack Power Amp: For connecting to the power amp of a combo or head amp. TIP: When using the Combo or Stack options and connecting into a tube amplifier, we also recommend that you choose a Preamp Model from the Amp Model menu (rather than one of the “Full†Amp Models). HD Preamp Models include no power amp emulation, making them typically better suited for this connection. That said, there is no wrong choice! PODs have always been about flexibility... Check out all the possibilities and decide which Models work best for your tone!

On a totally unrelated topic; check out the Jimmy Castor Bunch song "Troglodyte - Cave Man"!! :) Yeah, I hear ya; AutoTune for Guitar does beg the comparison to singers like Britany Spears and One Direction, who cannot perform or record without vocal autotune.. I like the concept, but again, as you said - there is a reason we pay luthiers (or learn to do it ourselves!) so our guitars are properly intonated and setup, and we learn how to play "in tune". Bending notes, in tune - whereas this gadget claims to do all that for you. Interesting, for sure. But, could be a disaster for guitarists who would learn to play out of tune and carelessly, since the magic box makes you "in tune" no matter what..

I was waxing poetic about some future Line6 gear, not really the variax specifically!

"..going to have to push them to do that on the next generation of POD and Variax units." I concur, 100%! I definitely agree, the JTV as designed with the VDI isn't designed to output audio data like that, it does all the processing onboard

Excellent point! The DT25 is lighter than the DT50, and it's dang weighty. The DT50 2x12 is really heavy. Worth taking a gander at the two-part options; the head and cab at least make the weight two parts and more portable. DT50 2x12 = 79 pounds DT50 1x12 = 67 pounds DT25 combo = 50 pounds