ColonelForbin

That being said, if I was shopping for a tube amp since I already have the Line6 gear, I would be very interested in the new USA made Supro amps! http://www.sweetwater.com/store/manufacturer/Supro/

I worked my purchase backwards; but came to the same / similar conclusion (went with the DT25 combo). I had bought the HD500 when it was first released, finally got my DT25 earlier this year. There are a plethora of amp options in the $1,000-$1,500 price point; that's not really the point though; there are ZERO other options which can do that the DT series of amps can do when you connect an HD500 to the amp using Line6Link. I think that reaction for some people is coming from the concept of digital modeled pre-amps in the DT. The power amp however, is 100% Bogner. And the switching is analog. Meaning, when you change amp models with an HD500 which is linked to a DT amp, it triggers analog relays to reconfigure the power amp portion to become those amps. The pre-amps are still all digital no matter how you connect to the amp. And it does sound amazing without using the HD500 as a controller. It just opens up a ton of configuration potential when you link with the HD floorboard. With the most recent firmware update to the DT series they give you the option to swap out the digital preamp portions that are "onboard" the amp; however, it involves using a MIDI interface and a computer. Pick the amp models you like the most and put those on the DT (if you are not using it with an HD500) When using it with the HD500, the entire selection of HD amp models is available. The configuration is a bit different than using the HD500 by itself; it uses what they call PRE versions of the amp models, which contain only the preamp part of the amp model. The Bogner part of the DT amp generates the power amp tones, which the HD500 can also model when you are for example running XLR direct to a mixer or PA. The XLR out from the DT is solid, and is "mic level" not line level, so it acts like a mic in front of an amp when you send it to the main mixer / FOH / soundguy / recording, etc. It doesn't give you the mic model options on the DT itself, and I don't know whether it corresponds to the mic model settings in the HD500 when it's linked like that - it defaults to combo/poweramp when you Line6Link to the DT, which disables the mic model portion of the HD500 process. I think it's a good tone coming from the XLR out DI in the DT, so I never worried about it much. I tended to endlessly tweak setting with the HD500 when I was using it in studio/direct mode, whereas when I use it with the DT25, I end up just playing, because it sounds fine without all the extra tweaking.

Yeah, it does seem like a rather large board! Seems like it's been a work in progress for them, the release date has been sliding back all year,and not a peep on the price point. I noticed they have that technology inside a Peavey guitar; it's $500. http://www.zzounds.com/item--PEVAT200 They also seem to have a 'luthier kit' http://www.autotuneforguitar.com/products/products.php?category=Luthier_Custom_Kits_7 Definitely intriguing options coming through the 13 pin world; that Boss GP-10 does some cool stuff giving you the option to send all six strings to your DAW via USB, each to it's own track in the recording software. I can see the Line6 gear that will eventually come along being on par with these types of multi-string processing. I think that the 13 pin gear gives you a different result than the piezo style which the JTV utilizes. Pros and Cons for each I would guess; I have no complaints about the JTV model qualities, they are all outstanding. Just different than the Boss / Roland stuff. I have read people saying the 13 pin piezo guitars, like Godin, don't always work as well with the GR-55 / GP-10, etc; something to do with the frequency ranges of the piezo vs the hex. I haven't studied up enough to know all the technical specifics!

I didn't realize that limitation on the JTV until I saw that the new Boss GP-10 *does* offer that feature.. I could see the future offerings of Line6 getting on board with that, and also the 'multi string' feature, that allows you to send each string to it's own track when ruinning USB into your DAW. Which is some seriously insanely cool technology! "For example, you can record the audio output of each of your guitar’s strings on separate tracks, either processed with the GP-10 or captured dry for later processing."

Another competitor in this market is the (yet to be released) Antares Auto Tune for Guitar Pedalboard. Has some weird options, like, strum your guitar, tell it to "tune", and it pitch corrects the guitar without having to physically tune the notes on the guitar. I still can't wrap my head around that, but it's a cool idea. They are calling that feature String Tune. There is another feature that is called Solid-Tune Intonation. And it also has alternate tuning and virtual capo; will be interesting to see how this compares to the JTV and the Boss GP-10, etc. "Less-than-perfect intonation muddies your guitar's tone. But by using our new Solid-Tune™ Intonation system, an Auto-Tune for Guitar equipped guitar constantly monitors the precise pitch of each individual string and makes any corrections necessary to ensure that every note of every chord and riff is always in tune, regardless of variables like finger position or pressure or physical limitations of the instrument. " "With Auto-Tune for Guitar, tuning your guitar is a breeze. You can tune all six strings instantly with the push of a button (no motors or gears required). Simply strum the strings, trigger String Tune via a button or an external controller, and your guitar is instantly in tune. It’s really that simple. Now you can focus on your performance. No more fumbling to fix tuning in the middle of a song. And whenever there's a need to quickly and reliably tune your guitar - a quick push of a button and you’re instantly in tune." "Using Auto-Tune's world-standard pitch detection and extremely high-quality pitch shifting, Auto-Tune for Guitar lets you quickly select from among familiar alternate tunings as well as dramatic new tunings that would be physically impossible without Auto-Tune for Guitar. From popular tunings like drop D, open D, open G, and DADGAD to previously-impossible tunings like six-string bass, split bass/guitar (i.e., just the bottom string shifted an octave down), twelve string, and the best polyphonic octaver you've ever heard, Auto-Tune for Guitar gives you access to virtually any tuning you can imagine, along with some you may have never imagined. All without the need to stop and physically retune or swap guitars." Tunings Baritone Seven String Twelve String Octaver Bass Bass Split DADGAD Drop D Double Drop D Open E Open G Open A Open D

A big part of getting any of the gear like all of these discussed (Eleven Rack, HD500, GR-55, GP-10, GT100, AxeFX, etc) is the SPEAKER(s) used to monitor / listen / play through. Not all amps are equal! You could give ten musicians the HD500, each with different speakers / monitors / amps, etc., and get *very* different reviews based on the actual amplification being used. Which is important when discussing these things; maybe someone who hates one piece of gear but loves another is hearing the difference as a result of their amps, vs the actual tonal difference between this, that or the other thing. From the OP's (Slooky) comment "just give me the amp don't give all the other stuff , sag, hum, mics, whatever else you have to tweak", I would imagine that implies they didn't take the time to understand the output modes, for example. Why would you buy an HD amp modeling device, then say "leave out the CORE of the amp modeling experience"? I mean, that's the essence of the gear, all the way back to the original POD. A roomful of amps, in a pedalboard, with the cab, room and mic settings to emulate the experience of taking your favorite amps and pedal to a studio, dialing in a sound, in a good room with good mics - and replacing all that with a digital modeling solution. For example, we know the OP doesn't like the HD500 due to the complexity and wants something far more simple. Fair enough - but we don't know what the OP is using to amplify the sound! I mean, no offense to the OP, but the pre-installed presets include some very basic virtually empty patches which contain only an amp model - if your amplification rig is set up properly and all other things being correct, those patches will sound AMAZING. IF they don't, something is wrong somewhere beyond the HD500. Seriously. Take a blank preset. Make the amp model the "plexi normal". Plug the 1/4" output into the FX return of ANY guitar amp. Change the output mode to "combo/poweramp". Play guitar. This WILL SOUND AWESOME, and if it doesn't, get a new amp. Conversely, do the same thing, except change the output mode to 'studio/direct'. Plug the XLR or 1/4" outs in stereo into a pair of semi-decent monitors, speakers, etc. It will also SOUND good. If it doesn't, it's not the HD500 to blame. Seriously. And if that is in any way "too complex", then amp modeling is not for you, because it doesn't get any simpler. Again no offense intended - it's not rocket science. Installing that GK-3 pickup on a guitar is WAY more complicated and time consuming than dialing in good tones with an HD500. For me, I struggled with getting the HD500 to sound good with amps and with direct to the PA. Then, it all changed when I bought a DT and a pair of L2t's at the start of this year. I like my DT25 a whole lot; it took the HD500 to a new level. I also like using it with a pair of L2t's, those also rock, and bring out the other side of the HD500. But the *experience* is very, very different, even using the same patch. For example, maybe the OP didn't have the opportunity to explore using the HD500 in 'combo/poweramp' properly, vs 'studio/direct'. I've gotten horrible tones using my HD500 with an older, really nice tube amp - which didn't have an FX Loop, then achieved amazing results using my crappy SWR bass rig or even a random old solid-state Fender guitar amp - that had an FX return. But we don't know, because the OP didn't come here for SOLUTIONS or ADVICE. The OP came here to crow about the Boss GP-10 and start trouble. No worries! Enjoy the GP-10, it looks fun. Of course, I would miss not having XLR outputs; the GP-10 (nor the GR-55) have XLR outs. Doesn't make me any less intrigued, because if I were to add a GP-10 to my rig, I would STILL be using it WITH my HD500. I would run the GP-10 into the FX return of my HD500. I would use it for a combination of synth, pitch shifting and whatever else it does. But that's just me, I tend to over think this stuff, and create needless complexity with my rig just for the sake of puzzle solving. For instance, if someone had a GK pickup on a guitar, or a GC-1 Roland strat, the pairing of a GP-10 with an HD500 would be a pretty stellar rig - in that instance, the GP-10 would take the place of a Variax, and that would be a pretty stellar rig. Run the 13 pin GK into the GP-10, and send the GP-10 into the HD500. Bamm! HD amp modeling paired with divided pickup awesomeness. Which is exactly what you get with a JTV -> VDI -> HD500. "You say tomato, I say tomato"... They are in essence, the same. Just a different way of getting there. A couple things that the GP-10 / GR-55 offer - the tuner. It's stellar. Strum all six strings. It tracks the pitch of each string in one tuner screen; really solid. I dig it. And there is also this: (looks like this cable costs more than $100 and comes out next year..,) "Play the GP-10 and another 13-pin GK device at the same time using the GKP-2 Parallel Cable (optional)" For a while I was splitting the VDI signal with the HD500 into 'variax mags' and 'variax models', then sending the 'variax mags' out from the FX loop, into a bunch of Keeley pedals, and back in the FX loop. I was splitting those into separate amp models, and having a lot of trouble trying to balance the levels, but it sure was fun trying! In the end, I let my buddy in my band take over the Keeley pedalboard, and now his rig is all old school, but sounding sweet. Basically, I wanted an M13, found one on craigslist, and the guy gave me a sweet deal, gigantic pedalboard, M13, and a Line6 G-50 wireless rig. I use the M13, my buddy uses the pedalboard, my Keeley pedals and the wireless rig, and it's pretty awesome. "Full range / Flat response" vs. "Guitar Amp Tones"; a very different experience. Some people need to be next to their amp, hearing it in the 'traditional' way - other people want to hear the end result of their amp + mic + room - the live or recording signal if you will - being in the room with the amp vs being in the control room, or listening to yourself through stage monitors. And that stuff MATTERS! It really does make a big difference in how playing "feels". I don't have a solid preference; sometimes I like to dial in a tone in 'combo/direct' mode, then switch over to studio/direct and audition the different mic models. Which is how you would do it in real life. You'd get your guitar tone sounding right to your EARS - *then* you would work on getting your guitar tone to sound right to the MICROPHONE paired with the ROOM your amp is in. That disconnect between the tonal source and the captured/recorded/PA'd tone has a steel learning curve for some people, and many folks can't get past the difference of "amp" sounds vs. "recording" sounds. Anyhow, enjoy your Sunday people, get out and soak up the last of Autumn, 'cause Winter is coming ya'all! Then it will be five months of ice, snow, cold air, and lots of free time to play music, experiment with sound systems, and bantering back and forth about it all here. :) Peace!~

Yeah, I have an ElevenRack, it's a nice piece of gear! I wanted to get Pro Tools, and bought the bundle with the Eleven Rack. It's a pretty solid set of amp and fx models, it definitely hold it's own. You need something like a Ground Control to use it as a footswitch rig, but just as a soundcard, tone module and/or for reamping it's pretty cool. Record a dry guitar, then using the Eleven Rack, reamp into an HD500, for example. I look at it as, I bought ProTools 11, got a free Eleven Rack! The plexi amp model is stellar, and all the FX are excellent quality. On Sweetwater, they actually show the cost of the software by itself is $60 MORE than the cost of the ElevenRack and ProTools 11 bundle with the download code. I bought the Eleven Rack + PT11 from Sweetwater, and it included an iLok; the software is a download version. Not sure if they give you an iLok with the software only versions; though I would imagine they would with at least the boxed version. The Ground Control by itself is $400 alone, so that option would be tempting for anyone shopping this. Pro Tools 11 + Eleven Rack (Sweetwater) : $639.99 Pro Tools 11 + Eleven Rack + Ground Control (Sweetwater) : $940.98 ProTools 11 [download] (Sweetwater) : $699 ProTools 11 [boxed] (Sweetwater) : $699.00

Yeah, it sounds like your power amp is super powerful, so you might want to try making a copy of some of your patches, and turn them *way* down in the HD500 settings. Like as in, go to your mixer and knock everything down -12db for starters. Give yourself a bunch of headroom, that might help stop unwanted feedback when you start to crank the power amp a bit.

LOL! Nice Star Wars tie in there Rowbi :) As for this Android app for Amplifi, to quote Star Wars again: ~"I've got a bad feeling about this"~ ...(just kidding! Android app for Amplifi is great news! ;)

I like this idea, I am going to try it next time I get my rig out! I was playing a patch on the GR-55 that was their version of Keith Richards where he doesn't use a low E string. It took me a minute to figure out why I wasn't getting any sound from the low E string! Interesting idea, to be able to route specific strings to other tones; running the low E as the bass note - that concept is way cool. Like the other guys said, when you program your HD500, using the VDI allows you to split the Variax mags vs the Variax models. I was using that idea, splitting out the Variax mags signal, sending it out the FX loop, into a bunch of analog fx pedals, then back through the FX loop return. It gets tricky running two full amp models; the DSP goes quick. Using your concept, you could get away with not using an amp model for the bass string part of the routing - but you'd have to use Workbench to build the guitar model to mute the top strings. However, rather than burn up precious DSP using the HD500x to pitch shift down an octave, you could do that with the JTV, in the model you create. I would guess you might even want to include the A (5th string) as well, I guess it depends on how you are playing, types of chords, movement of low string lines. But cool idea for sure! You could even pan your outputs hard left and right, send the bass notes to a bass amp or something. One note that is worth mentioning - watch out for using "mono" effects before or after the dual input split. For example, if you put a noise gate after the mixer block, it will sum the stereo signal back to mono, and you won't have that split. When I was doing that dual-input thing, I dragged all the FX blocks into their respective amp chains, and had no FX pre or post the amp model split. You could even do a "force" JTV / Variax model change for those patches, so when you want that configuration, it will change the model and settings accordingly.

So.Much.Fun!! I stayed up till 3am last night,and had to wake up at 7:30am to get to work by 10am. Totally worth it! That's what Starbucks is for right? SO, I got the temporary GK-3 install done on my JTV59 last night. And then I ran through the various presets and some of the PCM instruments. In terms of the install, from the looks of it, I think I can do the semi-permanent double stick tape to the side of the bridge pickup rather than to the face of the guitar. I need to get some slightly better double sided tape; the stuff that came with it wasn't working very well. In general the Variax models and the Roland tracking/synth/midi/etc all aligned / synched well - I recorded to ProTools the 'guitar out' from the GR-55, using that 1/4" patch cable from the JTV to the GK-3 and the stereo out from the GR-55. First and foremost, makes me appreciate the JTV as is, with no extra gadgets attached! That being said, it's definitely an interesting sensation listening to the Variax piezos next to the PCM MIDi samples. The triggering / tracking was decent; though at first I forgot to do the 2nd of the GR-55 settings, where you measure from the piezo saddle on the JTV to the center of the hex pickup. It was sounding pretty weird, then I measured those, converted the inches to metric, and it sounded much better, after I entered those values. There is also a setting where you set the scale length, same thing, converted the JTV scale length to metric JTV59 is 24-9/16", which converts to 24.5625", which is 623.8875mm; I ended up choosing 624mm, it rounds off to nearest mm. Now, to stay "on topic"! :) I can say that the tuner on the GR-55 is excellent. And- when using a GK-3, that tuner is going to be something that the Axe-FX also cannot do. You enter the tuner and strum all six strings - it shows the pitch for each string, makes tuning quite simple and quick. I think the Variax / JTV could technically do that, though I don't know what it would entail. But it does reinforce the power of hex and piezo individual string pickup, and the options which become available. For example, I chose a 'drop D' setting on the GR-55, switched the JTV to the drop-D setting, and they sounded fine together. Actually sounded really fat and solid! So yeah, let me know when Axe-FX gets on board with individual string processing. :) For what it's worth, the JTV still fit fine in the Epiphone LP hard case with the GK pickup installed.) https://www.dropbox.com/s/l8xsh4dhi6bdskw/20141018_001514.jpg?dl=0 https://www.dropbox.com/s/qwg6lgb5jtiq0sj/20141018_001537.jpg?dl=0 https://www.dropbox.com/s/jnnr76834oysdc0/20141018_024202.jpg?dl=0

That is precisely what I am going to do! Will attempt to get that GK3 on my JTV tonight after work~ :)

No apologies for off topic response here! lol, it's all one big conversation anyway - considering the original post is about an Axe-FX, we're already pretty off topic as is :) In order to stay 'on topic', even though all the responses have been excellent and very informative - I would think that the power of an Axe-FX coupled with a high quality multi-string pickup system would be really cool. While Axe-FX is most definitely an amazing piece of gear, at a very steep price point - it's still doing the same basic effect processing that any / all other mono and stereo processors are doing. I could see the future bringing an evolution of the GK style 'hexaphonic' pickups and the JTV style piezo saddles being able to interface with the Axe-FX gear - at which point it would be pretty awesome. As is, the Axe-FX is still a bit 'one dimensional' in terms of what it can do with pitch tracking. In that regard - and in response to the original post - the Variax is better - or at least attempts to be more advanced - since it can adjust the pitch of INDIVIDUAL strings. Which is how we diverted into the very interesting and informative world of Roland, GP-10, GR055, etc, because the technology of the Roland gear; especially the GP-10, offers extremely high end individual string pitch shifting. Axe-FX can't do that; JTV can. It becomes a somewhat subjective conversation at that point; I don't use the JTV alternate tuning as often as I should, but when I do, it works very well. Axe-FX cannot change my tuning to Open G, or Drop D, or even, move the top 5 strings down 3 steps, but drop the low E string down 5 steps - Drop B? Not attacking Axe-FX - incredible stuff. Made in the USA! Kudos to that. indeed, I would love to see the Axe folks embrace the technology that is around it; imagine being able to plug your JTV VDI cable, or your Roland GK 13 pin INTO an Axe-FX and process multi-string using their FX. Way cool! As for me, I am going to work on installing my new GK3 on my JTV59 tonight (using the temp double stick tape method for now), just because, I like the idea of playing piano with my guitar. Or trumpet. Or run that thing into Reason, and trigger drums with it! So yeah, the "off topic" posts, as far as I am concerned, were spot on.

Yeah, I loved my X3L! It was a cool piece of gear. I sold it to fund the HD500; it definitely had some features that were dropped on the HD series. Some of the dual recording features went away, the dual output stuff too; where you could send dual stereo split between the 1/4" and the XLR's. I should have maybe kept it, but I got decent $$ from a bassist who was psyched, so it all worked out. I think the HD stuff is very DSP intensive and that caused other issues; it's pretty easy to overload the DSP using dual full models, or some of the more intense FX - pitch shifting. I agree - the 1-8 FS setting on the HD is *awesome*! I prefer the tap-dance of being able to individually switch on/off FX, rather than pre-program everything; though I have gone back and forth on that. And, you can still change patches, using the bank up/down, so it's a good option. Some people want the instant patch change with a single footswitch; vs the two-click if you use the 1-8 mode. I tend towards 'overkill' - I can see the appeal of the Amplifi being the 'fun' rig! Sometimes programming and connecting the HD gear is more involved than one might wish to dive into - sometimes ya just want to plug in and jam! I have been using an M13 in the FX loop of the HD500; but now I am experimenting with adding a GK Roland pickup to my JTV59 and running a GR-55 for the MIDI models into the FX loop return; run it stereo in the end of the signal chain before the looper. We'll see how that goes! I've also got a (mostly) Keeley analog pedalboard too; was messing about with running my JTV into that board using the 1/4" while also running the JTV VDI into the HD500, and processing them on dual amp signal chains. It was cool, but not practical; ended up setting that rig aside for now, and went back to focusing on the digital stuff. In general, the M13 is alot of fun in the HD500 FX loop. I run it stereo, way cool. Layering reverbs and delays, definitely cool, and frees up the DSP on the HD500 to do other stuff.

I just skimmed the responses, my apologies if this was already addressed - input settings? Try changing input one to whatever you are using (VDI, guitar in, etc.), and then change the second input to something else. Example / IE: input 1 = guitar input 2 = variax There is some kind of doubling / summing happening if you set the inputs to 'same'. There are also a ton of threads debating this issue, some say it sounds better one way, others say it's better the other way. Alot of it has to do with using single or dual amp paths. http://line6.com/supportarchivenew/thread/83576 "when you choose input 2 as "same", you are feeding the signal path with a "hotter" signal, while if you choose input 2 off (i.e mic), you are feeding the signal path with a "colder" signal." http://foobazaar.com/podhd/toneGuide/ http://foobazaar.com/podhd/toneGuide/setup#input

It's a cool idea! I like the idea of having a "Universal" tone database that can function across the multiple hardware platforms. However, at present, I don't think that exists.. :( In particular, the HD500 series of amp modeling is a step (way) beyond what the Amplifi is offering. Even though the Amplifi is the newer product, it actually uses older modeling technology paired with the newer Bluetooth and iPad connections. If I remember correctly, the Amplifi is using the amp modeling and FX modeling of the older X3 era / PodFarm? Not certain on that. When they released the HD series, they completely rebuilt the amp models from the ground up, using a new algorithm and process of modeling. Which, if I understand it all properly, is why the tone files won't port across the platforms like that.

Two L2t's are incredibly loud; I like the way they sound with my JTV-HD500 rig, but I usually end up using my DT-25 at rehearsal with the band when we do electric, and the two L2t's get used as monitors. But when I am jamming at home and having fun with sound, I've tried the l6link to the pair of L2t's and they definitely rock. I am experimenting with adding a GK pickup to my JTV59, so I can run a GR-55 in tandem with the JTV models into the HD500; apparently you can run the stereo outs from the GR-55 to the FX return on the HD500. In that case, for that (somewhat insane) rig, I would likely gravitate towards running in studio direct, and either going direct into the mixer and out to the L2t's, or L6Link to the L2t's. I guess I could have gone with the L2m's for $200 less total ($100 each), but I liked the idea of being able to use the pair of L2t's without the mixer, for certain situations. What I haven't tried yet is using both DT25 and L2t with L6link from the HD500; I haven't figured out how the over-ride the automatic 'combo poweramp' mode that the HD500 goes into when you L6link to a DT25.

Yeah; the Godin's look pretty nice! I am wondering if I am crazy for wanting to put a Gk-3 on my JTV-59. But I am psyched to run the dual-insanity; VDI to the HD500, 13-pin/GK to the GR-55. I definitely can't squeeze an external GK-3 onto my Strat without raising the action a fair bit. Was comparing the Roland 'GK ready' strat (mexican) that goes for something like $900, vs the Godin 13 pin ready, which the lowest price is around $1,200, but does some pretty cool stuff - has three outputs (mags, 13 pin, piezos) For some odd reason, Zzounds only offers a 4 payment on the Godin, while they do their standard 8 payment on the Roland strat. Weird.. I suppose I will do the double stick tape on the JTV for a temporary "try this crazy idea out" solution, and see if I really like the sound of the all this processing together. I certainly don't want to take the bridge off the JTV-59 to do that version of the attachment, nor am I inclined to drill holes in the face of the JTV59 to do a more secure mounting.. Curious about how the JTV models would overlap with the GR-55 samples; not sure if there will by any nasty, muddy latency issues.. I am trying to do too much with with too little $$ budget, as usual! :)

Do you use your FX loop on the HD500 for anything? (I run my M13 in the HD500 fx loop in stereo) If not, you could set up the dual channel concept, place the FX loop in one side, choose no amp model and run the iPod into the FX loop return; though I don't know what will happen since you are panning hard left and right, which is putting things in mono.

There are a couple ways to do that - and yes, you want to be in the HD500 forum. You can set the EXP1 or EXP2 to control volume by defining that parameter in the amp model, but it's not global, so if you change the amp model to another amp in that patch, it will revert back to whatever the default is. HOWEVER, as Brazzy noted, when you plug in a 2nd EXP pedal it will only control EXP-2, by default, so you would need to re-program your patches accordingly. For example, with the single onboard EXP pedal, using both a volume control and wah, you typically use the expression pedal toe-switch to toggle the wah on/off, which then deactivates the volume pedal so you can use the wah. For mine, I use a Mission Line6 expression pedal, and typically turn the wah on off with an FS setting instead of the toe switch. The other method requires using an FX block as a volume pedal. Decide where you want it in the signal chain - I usually place mine post amp model, pre delays and reverbs. I like to do volume swells into delays and hear the delay trails if I kick down the volume pedal. Though that also works before the amp model - but in that slot it can reduce the amp drive gain since it's similar in effect to 'rolling off' your volume knob on a guitar.

Very cool! I was hopeful that they just trimmed down the GR-55 to make the GP-10; it didn't seem that the GP-10 was something new that the GR-55 couldn't do, in terms of the models, DSP, MIDI speed, latency, etc,. I know some people were saying they felt the GP-10 was faster in terms of the pitch tracking; I guess it does allow alternate tunings of the 12 string models, which I don't think the GR-55 does; but, it's not like they took it up a big step, as the HD500 is to the X3 for example. Heck, if I need 12 string alternate tunings, I'll do them with the JTV. I guess with the GP-10 - it's technically a Boss product, vs a Roland product (splitting hairs there), so they wanted to give a nod to the GT series, hence the regular 1/4" in. For me, the GR-55 has way more going on in realms that I was interested in - definitely excited to be able to make that MIDI connection from HD500 to GR55 - sounds like that will be pretty easy. Thanks!

From what I've read, it's possible. I am looking at adding a GR-55+GK-3 rig to my JTV+HD500 rig; found some good info in this thread: http://line6.com/support/topic/1953-anyone-using-guitar-synth-with-variax/ Couple good tips, in terms of how to send the GR-55 audio into the HD500 (use the FX loop return on the HD500). http://line6.com/support/user/13228-inerzia/ Posted 11 August 2013 - 04:37 PM "I'm also using a JTV, an 89 in my case, with an HD500 and a GR55. I run GR's outputs into HD's loop return inputs, (so that I only take 2 channels on the mixer) and a midi cable from HD's out to GR's in, to change patches simultaneously. I can even control some parameters on the GR, like wha, voice on/off, effect on/off, and pretty much every (non-system) parameter on the GR." Found this the forum archives: Re: POD HD500 to midi control Roland GR55 by catalano on 2012-05-23 18:06:52 "..set up your HD500 to transmit on midi channel 1. Then set your gr to channel 2. Bring up the patch on the HD500 that you'd like to use in conjunction with a patch on the gr. Go the the controllers page in hd edit and assign one of your top row footswitches (ie. FS5) to send a midi program change message. Set the channel number to 2 and choose the appropriate patch number. Save the patch. Now when playing you can call up the HD500 patch, then step on FS5 to send the patch change message to your gr then step on FS5 again to turn off any effect you may have assigned to it. This works. I do it all the time." This was also in the forum archives; I've been searching Google for terms like HD500 GR55, or JTV GR55 HD500, etc. Re: HD500/DT50 + Roland GR-20 Synth??? by dreadlocks on 2011-03-27 02:11:28 "Hi, I don't have the Roland GR-20 Synth but I do have the new Roland GR-55 as well as the HD 500, so maybe there are enough similarities for my anwser to be useful. My guitar is a variax 500 with an additional GK3 pickup attached for the GR-55. My HD500 could be regarded as my master controller, as it controls all the presets in the variax as well as take care of changing the presets in the GR-55. Cable connections: Variax cable out from guitar into Pod HD500. Midi cable out from HD 500 to Roland GR-55. The GR sounds really awesome and I only have three problems with it. 1. You can't use it as an external soundmodule. 2. Bank change sucks. No quick way to move from say, bank 1 to bank 10. . It is not possible (like with the HD500) to scroll to a new bank and then while playing and then selecting the new tone just when required. 3. No extra pedal (like a sustain pedal) can be connected. There is a control pedal but this is really uncomfortable when you're using it as a sustain pedal for say, piano sounds. Apart from this it is really a dream machine and the tracking is absolutely amazing. Using the HD 500 as controller solves some of the problems. In any single patch (preset) in the HD you can control up to four different presets on the Roland Synth. FS1, FS2. FS3 and FS4 can all be assigned diffferent programme change numbers. This means I can setup a preset called, for example, Latin Kit on the HD500. Now using FS1 to 4 I can switch from trumpet to piano to Vibes to whatever, because pressing each footswitch selects a different instrument. This info is of course stored in the HD500 preset."

I am working toward a very similar version of what you describe, glad to hear that is actually do-able! I was wondering about using the FX returns on the HD500 as a stereo input from the GR-55; also quite intrigued by the idea of putting a GK-3 on my JTV59. Love the idea of layering piano, brass, synth, etc on top of guitar sounds; also like the idea of running the GR-55 guitar models into the HD500 amp modeling. Your concept of using the HD500 FX loop to merge the signal to to the HD500 is a solid idea, gives alot of flexibility in terms of where in the signal chain the GR-55 instrument tones / instrument models occur. I didn't want to give up the JTV to HD500 VDI connection, and I was struggling with the best way to send the GR55 signal into the HD500. I will also need to read more on how you are getting the HD500 MIDI out to control the patch changes on the GR-55. That is something that really intrigues me, and was part of the reason I went for the older GR-55 instead of the newer GP-10. That, and the GP-10 doesn't have the PCM instruments, and I really *wanted* piano, brass, etc. Cheers!

Lol, too true! That photo actually makes it look pretty cool! I suppose the "Borg" look isn't a *bad* thing. :) But yeah, that photo of your JTV69 with the Gk-3 is pretty much spot on to what I imagined doing if I decide to get into the MIDI thing with my gear. Have you done any side by side comparisons between the GK+GP acoustic models vs the JTV acoustics? Overall, I like the JTV acoustic models, though I would definitely have some fun running them side by side, and using two different acoustic models at the same time. I guess I would need to sort out how to mix all the signals together in some sensible way. When I was being stupid and running the 1/4" from my JTV into an analog pedal board, and merging that with the VDI signal, I definitely got some cool layered tones. It remains tempting, will keep ya posted if I end up giving the GP-10 with a GK on my JTV a whirl! :) Thanks for the links too, will check those out, always nice to have some G.A.S. mitigating literature (or GAS inducing, depending)

In particular, how does the GP-10 compare with the GR-55? I find the omission of the MIDI stuff like horns, pianos, etc to be a limitation of the GP-10. I would imagine since the GR-55 is a few years old, that somewhere down the road a newer better version of that style floorboard will come along. I noticed that both the GP-10 and the GR-55 are still only using 44.1k sample quality - if you plug a MIDI guitar into something like Reason, does the sample quality improve over the COSM / Boss / Roland offerings? I suppose it also begs the question, what type of MIDI guitar pickup system are you using with those units? I've been intrigued by this GP-10 product, to use alongside my JTV+HD500 rig; getting stuck on the MIDI pickup stuff. The GP-10 + external GK-3 is $500 on Sweetwater, a rather modest / minimal investment to get into the world of MIDI guitar rigs. I also looked at the GC-1 "GK ready Fender Strat (Mexican) with the pre-installed GK internal pickup system. Also considered what it would cost to install an internal GK pickup system into my USA Fender Strat (HSS - not sure if that humbucker in the bridge slot will cause any installation trouble) Then, just for 'awareness', did a view on Sweetwater from price high to low, of their offerings, and I see +$4,000 Godin guitars pre-wired for 13 pin systems. YIKES?! TOo many options. I realized that it comes down to that pickup and the guitar it's on - seems like it probably factors heavily into the quality of the tracking and the quality of the processing - the outboard unit can have all the DSP in the world, but if the pickup system isn't set up right on the guitar, then it's going to be a headache inducing mess. For example, if you put an external GK-3 on a Fender Strat, it will no longer fit in the standard moulded hard case... Fun! I can imagine the same will be true if I put that on my JTV59 since I have it in a rather snug Epiphone LP hard case. Still, it's a cool thought, to have my JTV triggering MIDI alongside the Variax modeling..... (but that's just the G.A.S talking!) :)