ColonelForbin

+1 to what those folks said! The DT amps really live in their own world compared with the rest of the Line6 amplifiers. First, because it's a Bogner tube amp. Second, because it has zero onboard FX. Third, because it uses the Line6Link. Fourth, because it's *really* expensive!! Fifth, because it's the best my HD500 has ever sounded. Though, as an aside to all of that, to me the AMPLiFi lives in a world much closer to the StageSource speakers, especially with that grill design; they look similar. The StageSource speakers are really quite nice, even at very low volumes. I have been working on an alternate rig to my standard HD500+DT25, and last night spent some time with the dual-rig idea. I use my JTV59, plug the VDI into the HD500, and run the XLR outs in stereo into my M20d. Then I also plug a 1/4" cable from the JTV into my ElevenRack, and also run that in stereo, using the XLR outs to the M20d. I then L6Link the M20d out to the two L2t's and configure them as stereo mains. I use the HD500 to get the looper going, then dial through various combinations of patches on the HD500 and patches on the Eleven Rack. I am still figuring out how I'd use this live, would likely end up needing to get a MIDI floor controller for the Eleven Rack, and when using the DT, I haven't quite figured out how I would route everything.

-Speakers are L2t. -Two of them connected. -Using AES cables from BestTronics, the cabling is 110ohm, Belden 1800F, with Neutrik connectors. I am going to have more time tonight to dig in a little deeper, will take a closer listen and see if doing the firmware solves the problem; I reinstalled all that firmware last night, but didn't have extended time to listen closer - though from what I did spend with them, didn't notice any clicking after updating firmware; and not 100% certain they had the most recent firmware on them anyway thanks!

My speakers were doing this low level clicking sound; I just reinstalled the firmware on both of them last night, but as near as I could tell, the two speakers already each had 1.05 firmware installed on them. I will keep an ear out for that clicking sound to see if it comes back. I thought I was hearing things! Glad to know it's not all in my mind... Though, not great if that problem continues to occur after updating the firmware.

For "pure" analog / tube, I have to add the caveat, that the DT series is definitely still digital. They key is understanding which part is digital and which part is analog. The manner in which they made it work is quite clever - but it's still got a digital portion of the signal chain which cannot be truly bypassed, other than, perhaps by plugging in directly to the FX loop in. The "preamp" portion of the DT is all digital. It comes with those four preamps loaded, and with the latest firmware you do have access to the entire bank of HD series amp model preamps - HOWEVER - you can still only load the number of them onto the DT as there are slots, I think maybe 8? I know you can cheat it and load more than just four; but you still won't have the same control as with the HD. The way to think of it, in terms of using Line6 Link, an HD500, and a DT amp is like this: The HD500 provides the amp models and all of the FX. It is the "brains" of the rig. Where it gets cool, is when you use L6Link, and make your patches using the "PRE" version of the amp models, not the "FULL" versions. This means the HD is modelling only the preamp portion of each amp model. Where it gets cool, is the HD500 tells the DT amp to switch up it's power amp, typology, and various actual analog components. You hit a patch change on the HD, and the amp reconfigures itself - pentode, triode, class A, class A/B, typologies, all kinds of cool actual analog changes occur - and though there are default settings within each amp model, you can customize all of that stuff using the HD500 or it's corresponding software editor. Again, though to reinforce this potential limitation - there is no getting around the digital part of it. If you get a chance to play with a rig, and like how it sounds - both just plugging a guitar in to the DT direct, and also using the Link to an HD500, then you have the core of a really cool rig. Then, just start saving up for a JTV! You nailed it with the expensive comment - it's way, way outside of the AMPLiFi budget, and in support of the AMPLiFi, I can relate - there are times I ask myself if it was all worth it; those thoughts usually disappear once I plug in and start playing. For me, having spent four years trying to make the Hd500 work with the various amps I had, and going direct to PA and mixer, it was a welcome change to hear the power and clarity that happened instantly when I got my DT25. I also *really* like the way it sounds going to the L2t speakers, for use in different rigs / setups / uses. I do still like the direct / studio recording ability of the HD500 by itself; though without a proper guitar amp, it always gave me some trouble dialing in patches that would sound right in the context of other guitar amps, especially loud, 40watt tube amps, with bass and drums raging. I was worried the 25watt DT wouldn't be loud enough, but I was totally wrong, it CRANKS. I am actually glad I didn't go with the DT50, primarily, because the DT25 is more than heavy enough on my back for loading and carrying it around! Second, the DT25 looks cool from the front because all the controls are on the top. For all that $$$, you could get a whole lot of amazing tube amp, with some $ left over. I don't think there is any one best path to the tone; it is so subjective, that three people could all configure the same gear to sound the same way, using three very different methods. This effect post, that one pre, using a compressor vs a boost, or an EQ vs a drive. Lots and lots of choices. For me, I had come off playing bass in a band for a number of years, but my first and real love was always guitar. Not as much room to explore crazy effects with bass; though I had an X3Live, I never really bonded with it. Once I heard the HD amp models, that was it for the X3; the thing had me hooked all the way back in 2010. I just waited four years to finally get all of the other cool stuff to go with it. You gotta plug in and play, and see what moves you. Maybe the HD500 with a decent Hot Rod tube amp would do it! Maybe a collection of Keeley fx pedals, and a nice boutique tube amp would be the path. It's all personal taste. As for me, getting off work right now, ready to do the long drive home, and most of my gear is all setup in the downstairs living room and ready to jam and record and mess around with dialing in some new tones! Cheers peeps, it's almost FRIDAY!!! :)

Wow, that is pretty weird that they require an M20d to update the L2/L3 firmware! I will check mine tonight, I have to send my M20d back to Sweetwater, it has seemingly got hardware issues, but since no one really knows, or can confirm that it is or isn't hardware vs firmware, I'll just rest easier with a new unit that works properly right out of the box (mine didn't. Touch screen didn't work or respond at all, until I did the screen calibration, and it didn't keep, the same problem came back each time I loaded it up over a few sessions, then caused major consternation at a gig where I had to reboot several times just to get the calibration to work properly!)

Ok, just to verify - how are you connecting the HD500 to the DT amp? Are you using the Line6Link? If not, then definitely try that, and use a high quality XLR cable, or even use a 100ohm AES/EBU cable. Something else you could try is this: Run the POD HD in 'studio/direct' mode, and use a 1/4" cable from the HD500 out to the FX return on the DT head. This will essentially give you a direct tap from the HD to the DT poweramp. While doing this, you could also try recording what you are playing using the USB out to a computer; though depending on circumstances, you may end with ground loop noise when connecting a computer to the rig, so that might be a no-go; but worth trying.

The "DT" line is Line6's collaboration with Bogner. It's a "Bogner / Line6" DT25 or DT50. The digital preamps and the L6Link function is all Line6; the tube amp, and analog switching is all Bogner. The way they work together is like "Magic Man and El Diablo". Cal Naughton Jr. and Ricky Bobby! :) "Shake and Bake" ;) No, in all seriousness, the DT amps are pretty sweet - however, they are nothing like the Spider / AMPLiFi gear. The DT amps do not have any onboard FX, other than reverb. They do have the ability to Link with the HD series POD devices, and in so doing, give you a pretty full range of FX, amp models, volume, and IMHO, pretty sweet stage worthy gear. I went with the smallest of the line, the DT25 1x12 combo. You can go all the way up to the DT50 head plus 4x12 cabinet. With an HD POD you can "Link" up to four of these together, and because of the two-way communication occurring between the DT amps and the HD POD's, you have every control at your fingertips - NO iOS required! ;) No offense to the other L6 amps, but this DT gear is in a class all to itself. Line6 calls the DT amps their "flagship amplification", and that statement, I do agree with. For what it's worth, if you end up going the HD500x type route, the L2t/m and L3t/m speakers are pretty solid too; though a very different route from the DTgear. If you want a tube amp to interface with the HD POD, the DT is the way to go. If you prefer using the HD POD in "studio direct" mode, then the flat response / full range type speaker enclosure that the L2/L3 StageSource speakers offer may be more to your liking. They also use the L6Link, so you can customize dual amp chains with more than one, create stereo rigs, etc. You can also L6Link DT amps and L3/L2 speakers to an HD POD; the DT just has to go first in the link chain. http://line6.com/dt25/index.html http://line6.com/dt50/index.html http://line6.com/speakers/

I think you guys all pretty much summed it up. I would hazard a guess, that the #1 issue is this: ALL of Apple's devices are made by Apple. Android, however, lives on devices from several different hardware companies; Samsung, LG, HTC, Droid / Razor, etc. - and even within that grouping, you get a wide variety of quality, for example within the Samsung platform. The latency issue seems to be a part of the equation as well, likely due to the widespread use of Android across multiple hardware platforms. Sonoma Wire announced back in NAMM 2013 that they had a low-latency solution for Android, but who knows where that went! I pulled that news from an article discussing the "best Android music making apps". It's almost like, they would be able to release Android support, but only for certain hardware - or similar to the iOs7 requirement for Apple devices, they would only be able to offer it with certain Android hardware offering certain Android operating systems. Jellybean Ice Cream Sundae Popsicle Lollipop Sandwich v.2.6.3.5 So I am not surprised to see Android languish behind iOs. What does surprise me, is the lack of Windows integration. I can understand, and even defend the delay and/or non-existence of an Android option for the AMPLiFi. But it does seem odd that they left out Windows. Though, they are not alone in this trend. For example, there was a remake recently of my favorite old computer game, Ultima IV, from way back in the day on my Apple IIe, long, long ago, you know, BEFORE The Internet! :) Anyway, the new "Ultima Forever" is available only on iOs devices, and also only the newer hardware supporting the newer iOs operating system. They have been getting the same type of daily "where is the Android version? where is the Windows version?" questions for going on two years now, or at least a year. To date, Nada, Nothing, Zork, Zilch. Interestingly enough however, this report proclaims Android the most stable operating system among mobile devices. So go figure! I would have though those Nokia windows phones were pretty solid candidates for this type of thing. I think, as someone else mentioned, the $$$ integration of Apple store, and the consistency of hardware, and the market bonus for any company promoting Apple above their competitors likely played some part in the decision. It's not often a company creates a product almost wholly dependent on a third party hardware, some of which (iPhone, iPad) costs as much as or more than the amp itself, and you need to buy that extra gear to get the amp to work properly. Granted, the "Extra" gear in this case, is some of the best there is, and works for a million other things, so, as bets go, they made a smart choice. I *want* an iPad more than I want an AMPLiFi! But mostly because iPad is awesome, and I'd like to try it with my M20d. Now there is a similar example - the Line6 M20d. You can use ALL of the functionality of the M20d mixer, all by itself, as is. And, you can also use iPads with certain WiFi dongles to enhance the functionality of the mixer. An analogy to the current status of the AMPLiFi to the M20d, would be, that you were required to use an iPad with the M20d in order to make it work properly. But imagine you couldn't use HALF of what the M20d can do if you weren't using an iPad with it?? For the (many) folks who already own Apple, and those who would welcome buying into Apple to use their Line6 gear, good for all of them. And for those who don't want to buy Apple to use their Line6 gear, the AMPLiFi is certainly not for you - at least, not yet. However, the new Line6 PickBot pick printer looks stellar! No, really, it wasn't just an April Fools joke.... ;) :o :) Best blurb of the bunch: "Dive in deep, if you wish, with customizable settings for parameters such as finger nail length and how many beers the guitarist sounds like they’ve had."

I know it has to be class 10, and 32G or less - but is there a list somewhere (my apologies, I know I have seen it, just can't seem to track it down searching!) of the recommended, or approved SD cards that will work with the M20d? I am in the middle of trying to figure out if I have a defective unit, or what is going on, and in the service ticket L6 is asking me what type of SD card I use (it's a class 10, 32G, sandisk) Posted elsewhere, so won't go on about the details too much, but when I loaded the M20d up for the very first time, new out of the box, the touch screen did not respond; and it's happened almost every time since then. Calibrating fixed the problem, then it just did the same thing next time I went to reboot. I can't really blame the SD card since this problem occured on day one, with no card in it.. I bought it less than 30 days ago from Sweetwater, so in all likelihood will be sending it back for a replacement, rather than mess around with having Line6 attempt to diagnose it. L6 has been quite helpful, I have been messaging back and forth with them to get their take on what I should do. I will finally have time tonight to give it another test, but will probably just send it back to Sweetwater and get a replacement. It seems wrong that the touch screen would not work when the unit is new out of the box, but it's odd that I can eventually get the screen to calibrate, but not always - and that last gig where I had to reboot several times was quite disconcerting. I don't want to wait, then find myself with limited options. Anyone got any last minute advice or opinions or similar experience? Thanks

Is it April First already? ;) "Dive in deep, if you wish, with customizable settings for parameters such as finger nail length and how many beers the guitarist sounds like they’ve had. Approachably priced at $9,999! Attaining the character and dexterity of your favorite star is as easy as hitting ‘print’ and sipping a latté while PickBot 3D Printer does the rest."

Of all the amp modeling that is out there, in that price point - at least from what Line6 makes, the HD amp modeling is the newest, and at least to my ears, sounds the best. If you have $2,000+ to spend on just the modeling hardware, by all means take a look at Kemper and AXE-FX! But, for 1/4 the cost of the Axe FX, the HD500 is pretty freaking HI-Def, and a load of fun to play. I was able to A/B compare the X3L and the HD500, and I definitely feel they did a great job with the HD amp modeling. Again, it is largely subjective, but, the quality improvement in those HD models is definitely there. For the price, it probably beats most of what's out there. Now, here is where "Pandora's Box" opens up, and you will be tempted to go out and spend around $2,500... First up on the "G.A.S. list", is the DT amps. The manner in which the HD series POD (500, 500x, Pro, etc.) interface with the DT amps is one of a kind, nothing else out there does what those two pieces of gear do, when connected using Line6 Link. And they do offer it as a variety of combos, heads, cabinets, and wattage. I went with the DT25 1x12 combo. They have them in 25 watt and 50 watt. Next up on the 'G.A.S list' is the JTV; James Tyler Variax. This guitar when coupled with the HD500 is also a one of a kind experience; nothing else out there does what those two pieces of gear do. Now, I waited *a long time* before I bought my JTV59 and DT25. I bought the HD500 when it released in 2010; and waited nearly four years before I made the leap to the JTV and the DT25. I won't get into too many specifics on why that gear is so awesome with the HD500 - but think of it like, going with the HD500 gives you some pretty cool options down the road if you want to get into that kind of gear. The Link6 link also can pair the HD500 with the StageSource speakers, if you prefer the 'full range flat response' type sound. The HD500 is capable of emulation the full 'studio direct' signal, which is like I was saying, preamp model, poweramp model, speaker model, mic model, room emulation (distance from cabinet and mic). It can also run in a mode called 'combo/poweramp' and 'stack poweramp', which essentially models the preamp, the poweramp, and the cabinet, and leaves out the mic and room. The difference is like this: studio direct, you are in the studio control room, and your amp is another room, with a mic on it, going to the mixer, and you are hearing the sound of your amp being mic'd, for a recording or live monitors sound. combo and stack poweramp, are the sound of the digital preamp models and the poweramp models and the cabinet model going to the power amp of your actual amp, by passing the 'real' amp preamp / tone stacks. For lack of a better word, that sound is your amp, in the room next to you. You could then mic that amp for a recording signal with an actual mic, vs the studio direct, where the microphone is a model / simulation. And those mic settings really do correspond to the manner in which the real world mics peform. There is a significant tonal difference between a SM57 on axis vs off axis, and either of those will sound different than a condensor, or a ribbon mic, or a dynamic mic, etc. Think about the DT amp series like this: Line6 digital preamps going into a Bogner tube amp, where the HD500 controls the analog switching and power amp characteristics of the actual tube amp portion. When using the DT amp series, the use typically programs the HD500 to use the 'PRE preamp' portions of the amp models, which models only the preamp and tone / drive stacks of each amp model, and leaves the DT to handle the actual tube amp and power amp functions. Switching between, say pentode and triode in the HD500 patch actually changes up the power amp on the DT from pentode to triode, instead of digitally modeling those sounds. The HD500 becomes the brains of the whole rig, and patches can be programmed to recall both amp models, FX settings, and also recall the guitar, pickup and tuning settings on the JTV. So, in one footswitch click, you change from a Fender Blackface to a Marshall Plexi, and at the same time, your Variax changes from a telecaster single coil in standard tuning to a les paul in open G tuning. The JTV guitars have six piezo pickups, one under each string, so the alternate tunings are very realistic, and perform extremely well. This isn't like an octave pedal, that switches all your strings equally, or a 'smart harmony' that shifts the notes specific to a certain key. You can create custom tunings, and it has a virtual capo, so you can adjust the strings as if you were using a capo any # of steps, yet always be playing the guitar in the standard string tension that you are used to, in the standard positions you are comfortable with. It also has a slew of other instruments models, including 12 string acoustics, 6 string acoustics, banjo, sitar, dobro, you can even make a mandolin! So, yeah. Like I said: "Pandora's Box", also known as the Dream Rig.... Let your Budget BEWARE!! ;)

Do you have any interest in recording some music in the man cave? And, do you have any existing amps, speakers, or means to amplify something like the HD500? There are tons of "all-in-one" type amp / fx combinations, like the Spider, the Flextone, the AMPLiFi, etc. There are also tons of floorboard 'all in one' type units, like the HD500, as well as various offerings from Boss, Digitech, etc. Here's my background: gigged live for several years as a bassist from 2001-2008, and also played a lot of guitar at home and did alot of messing around recording various musical ideas, overdubbing, multitrack recordings, things like that. Went through a variety of pedals with soundcards, then whenever it came out bought the X3Live. Used that for a bunch of live gigs as a bass processor, and used it at home for recording, and as a USB soundcard. Then in 2010, sold my X3L to buy an HD500. At that time in my life, was no longer gigging, and focused more on recording and jamming at home, and recording other bands. Earlier this year got back into playing with other musicians, back to guitar instead of bass, so started assembling a new rig. For years I just used little stereo desk top speakers, or the FX return of little 1x12 combo amps for use with the X3L then the HD500. Now, I've gotten into recording bands mult-track with the M20d, and mixing it at home with ProTools, and overdubbing parts together with various recordings. So, most of the various gear that you can shop will all do variations of the same things. For example, comparing the HD500 to the Eleven Rack; the 11R costs a little more, but it's really ProTools that you are paying for, and the hardware is basically free. In terms of jamming at home, the HD500, or the Eleven Rack, or something like the Digitech RP1000, or the Boss GT-10 - these all still need an amp, or some decent speakers. The thing to consider is those deviced I think all do amp modeling, along with FX. SO you can run them into any speakers; get some M-Audio 5" speakers, in stereo for $200, or spend a little more on something better, or spend less on something that is configured as a pair instead of two individual powered monitors - you'd be surprised how loud a pair of KRK Rokit's are, without even getting to an 8" speaker. The reason I mention amp modeling, is because the device emulates the entire signal chain - fx, and amp, so it will sound good in headphones, or regular speakers, or a guitar amp. There are also "FX only" processors, which need a real amp to sound right, like the Boss ME50 or the Line6 M13. The key to thinking about an "amp modeling" device, is that it is emulating a preamp, a poweramp, a speaker, a microphone, and a room. Typically, those units (like the HD500) also have a bunch of FX pedal models - for example, the HD500 uses the FX models from the M13 device. Wahs, compressors, distortions, chorus, reverbs, delays, pitch shifting, phaser, etc. The HD500 also has an onboard looper, which I use at home to jam along with ideas. Start a recording, start a loop of some rhy guitar chords, then try out a bunch of licks and riffs, try different modes and scales, just to hear what they sound like. In general, these devices also usually allow multiple simultaneous instrument inputs, so if you have a friend at the man cave, you can both plug into the HD500, set up different or the same signal chains for the two guitars, and play through the speaker system / amps, etc. that you are using to listen / amplify. Like you said, many subjective opinions about what is best, and what sounds the best to each person. The big factor, is how much $$$ do you want to spend? You could go the HD500 route, and then get a pair of L2t speakers, which would sound awesome for jamming, as well as any recording playback or mixing - and they'd be stellar for playing along with songs you want to learn. Or, for a whole lot less money, you could do exactly the same thing with smaller studio monitors, like the M-Audio that I mentioned. My local Guitar Center has the M-Audio BX5 speakers on sale for $100/each right now: BX-5 Guitar Center link Lots of options for making sound! So, get into a store, and play some high end gear, and play some of the gear you can afford, and decide what it's worth to you. Maybe pick up a used amp from someone you know, or at a store, or off craigslist. Typically, when people are selling their gear, it's because they want to buy something new. Guitar Center really, really lowballs what they will pay for gear, because they then mark it up for what they can sell it for. People are thinking, "really, that $500 amp is now only worth $50 at Guitar Center?". So, you can still get a deal; all you have to do is beat the price GC offered to buy their gear for. Take a look at some of the Fender Hot Rod series, you can usually get those used for a decent price. That would get you into the tube amp world, but they key there - is those amps have an FX return. The HD500 will work better / sound best going into the FX return of an amp like that. I mention that, because the Blues Jr does not have an FX loop. The front input of an amp would work with a modeling device, but it's not ideal. I mean, I bought a used, solid state, Paul Rivera-era Fender 1x12 combo, that sounds fantastic with my HD500 going to the FX return; and I paid a guy $90 for it. So, that's my extended rambling opinions on the matter. Cheers! And have FUN! :)

It sounds like what you are referring to, in terms of real pedals and amps, is the difference between putting a pedal after your guitar, but before the amp front input vs. putting a pedal in the amps FX loop. For example, wah, then a tube screamer followed by a Keeley compressor, then into the front jack of the amp. FX loop send, into a delay pedal, into a noise gate, back to FX return. The manner in which the HD500 could emulate this, is what Rads referred to as "pre" and "post", meaning, all the FX blocks that are assigned "pre" (before the amp model) could be considered similar to the stomp boxes and pedals placed after the guitar and before the amps front input. All the FX blocks placed "post", or after the amp model, are comparable to pedals /fx placed into that FX loop chain. I play with a guy in our band, and I use an HD500+DT25. He uses about 10 analog pedals, various drives, wah, compressor (keeley), and delays, and a noise gate. His signal chain looks like this: guitar>wah>drive1>drive2>compressor1>amp front input, amp FX Loop send>keeley time machine (drive/boost)>delay 1>delay 2>keeley compressor>noise gate (ISP decimator)>FX return His setup takes about a half an hour. Mine takes about two minutes, whether I am using the DT25, or running direct to the PA. He has actually come to realize and appreciate the benefit of having your sound in a more portable, flexible configuration - stomp boxes have knobs that can be turned by accident, and you cannot "save" your configuration. He was actually enjoying playing my strat through my Eleven Rack, into an L2t the other day, and said he would definitely use the 11R if we ever had to play without amps - because when you take amps out of the equation, it makes using those stomp boxes *really* difficult. That's one of the shining points in favor of the HD500 - it's total flexibility with output configurations. Direct to PA, 1/4" to fx return of amp, 1/4" to front of amp, or Line6Link to a DT amp or an L2 or L3 speaker system. Plus you can dial in some ideas for patches at home, with headphones, and easily tweak them for live or rehearsal volumes. Now don't get me wrong, in the end, the entire existence of the POD gear is based on the value of actual pedals and amps that this gear tries to emulate. If there were no pedals and amps, there would be no POD! Definitely try that dual amp configuration as well, that gives you parallel signal processing options. What that does, is sets up dual "pre" and "post" positions that happen before the signal mixer. If you panned them in stereo, chose two different amp models, and sent that in stereo to a PA, or out to two guitar amps or powered speakers, you would have two totally different signal chains. I get the impression, that what you were talking about though, is closer to my first example, which essentially places the delay pedals after the amp tones, allowing the delay a clean path to the power amp - the distorted / compressed / amp growl goes into the delay, and the repeats are "clean" copies of the tone going in. Placing a delay pedal before an amp, sends the delay source and the repeats into the crunch of the amp, and can often render unwanted results. As far as accomplishing this with the POD / HD, that just means place reverb in the post amp postion, followed by any stereo FX, like chorus or stereo delay, My typical HD500 patch looks something like this: wah > drive > compressor > amp model > reverb 1* > reverb 2* > delay I typically set the footswitches to be: FS1 = drive FS2 = compressor (sometimes I reverse these in position and pedal assignement) FS3 = reverb toggle. I use reverb 1 as the '63 spring verb, with a light mix, reverb 2 as a hall or large reverb for "effect". In that config, there is always reverb on, it's just far more subtle when verb 1 is on. FS4 = delay. Sometimes I also put a chorus or some kind of modulation effect, and if I need additional footswitch control, I take the FS from one of the reverbs or the drive/comp pair. Sometimes I set the drive and comp as a toggle similar to the dual reverbs, where pressing FS1 toggles the comp off and the drive on, or vice versa. A note: when using stereo FX make sure they are last or near last, and make sure no mono FX happen after the stereo effect.

I will check my firmware tonight, and also buy a new 'approved' SD card. I believe the card I have is on the list of OK cards, and it's a 32G. One thing I did think of while pondering it today, was that I had left the setup "scene' or whatever it's called up each time when powering down, and the setup would load each time I was having this problem. The inputs were all defined as I had last used them, and I thought that could be possibly the issue if I was doing something wrong, in terms of booting up with the SD card in or not in, and also was wondering if it made any difference to save and close the scene / setup and create a new blank setup before powering down. Last night, I saved out the setup, and created a new blank setup, then powered down, and powered back up, and it didn't have the touch screen not working problem. I don't remember if I had left the SD card in or out at that point. Will have some free time tonight and this weekend. Line6 Jon has already replied to my service ticket, so hopefully it's not a hardware issue, but even if it is, I am still only 15 days in from my original date of purchase, and I let my guy at Sweetwater know what's going on. Frustrating, but I am hopeful the resolution is forthcoming and simple... Cheers! -Brion

This behavior started on day one, first time I powered up the unit. I didn't think much of it after I successfully did the screen calibrate, but then the problem returned this Saturday, and then again last night at a gig I was running sound for, and recording. Last night was the worst of the episodes - the screen calibrate also didn't work properly. I entered setup mode, chose screen calibrate, and it briefly flashed the red cross, then returned instantly to the setup menu without letting me do the actual calibration. I had to power cycle the unit at least 15 times before I was able to get it to FINALLY allow me to perform the screen calibrate. I am guessing this is either defective hardware or I need to reinstall the firmware. I just opened a support ticket, but I thought I would inquire here as well. It was a scary ten minutes or so, where I couldn't run any cable or mics until I knew the M20d would work. I kept rebooting and power cycling, trying things like SD card in, SD card out, etc. Nothing obvious caused it to allow me to do the actual 5 point screen calibration process. I literally got it running, and had just wired up the vocal mic when the performer arrived to the gig. Not a good feeling.. Overall, the gig went very well, and despite rather low recording signal levels, everything seems to have recorded complete, and sounded fine on first, brief listen at 1am (and I woke up for work at 6am today... ) Anyhow, I will also run this past my Sweetwater rep, I just bought this gear less than 15 days ago, so I may end up exchanging it for a new unit. Thanks!

I should read the manual, but being near the end of the gig, thats not possible at the moment.. but what are the distinctions between a scene and a setup?

Definitely check that chain link icon; it defaults to on for each input when I add a new monitor. Unclicking the green link icon for each seemed to correct this issue for me. I need to read ths manual a bit closer! :-)

I have had the screen not respond when booting up. Actually just happened pre gig about 45mins ago. Had to reboot several times, and screen calibrate also was not working.. Going to check w Sweetwater and L6 service ticket, see what I need to do. Its working now.. but freaked me out during setup!!

Oh yeah, and get a proper VDI cable too. The JTV will come with one that is intended for connecting to the editor / software, monkey, etc. Line6 makes a VDI cable that is decent; certainly better than a regular ethernet cable. But take a look at some better quality options as well; after taking the advice from others on this forum, I ended up buying a variety of cables from BestTronics. Their VDI cable feels more like a regular XLR / instrument cable. It's the ethernet plug on both ends, but you want the XLR type shielding on both ends. They click / lock into the JTV and the HD500x. The L6 cable just feels different, and lays out / wraps a little weird. I've had no problems with mine, and I ended up getting one of each from L6 and BestTronics, so you would be fine with the L6 cable if you need to get one like, today - they probably stock those at Gtr Center, and such Here's a couple photos: https://www.dropbox.com/s/o01x3aa7smpsuyo/20140224_134941.jpg https://www.dropbox.com/s/eqaeobg12s2y01y/20140224_134854.jpg

You may also want to experiment with running the output from the HD500x into the FX return on the Shiva. I've been quite happy with my JTV59-DT25-HD500, but it's always fun to experiment with new sounds! In this case, you could have your stereo rig by simply running the HD500x 1/4" outs into the DT50 fx return and the Shiva fx return. I had my HD500 for four years before I decided to upgrade to my DT25 rig. I typically always ran the HD out into the fx return of whatever amps I had around. I can understand why you would want to simplify the rig setup; it's pretty fast for me to plug in my JTV, HD and DT, while my buddy who plays guitar with me is still plugging in his many, many stomp boxes, and messing with his settings, because he has pedals in both pre and fx loop positions in his amp (Fender tweed 40w), so it always seems like something is a little off, and adjustments to that many pedals can take a while! With the HD to DT using the L6link, which I am sure you are familiar with using the M20 and pair of L2t's, it is definitely a cool way to tap the digital preamps into the Bogner tube amp portion, which to me, is what makes the HD+DT so friggin awesome. I also have the M20 and a pair of L2t's, so I can say, definitely experiment with running the HD into the L2t's in studio/direct mode. They are pretty amazing speakers - very different sound from the DT. My current brainstorm of ideas came to me on my drive to work today; I've also got an Eleven Rack, and am considering running the DT XLR out into the 11R, and sending that signal through in stereo to the L2t's. Haven't quite figured that out yet. I was also experimenting with running both VDI and 1/4" outs from the JTV, so in theory you could feed the HD+DT rig with a VDI cable, and run the 1/4" off the JTV into your Shiva rig. Cheers!~ And have FUN, you are gonna love messing with this stuff; I haven't gotten past the tip of the iceberg with mine, and all day long I look forward to the time I get to spend with it after work

You might be able to find a good deal on a b-stock / scratch&dent69 / scratch&dent89 JTV. The links for the b-stock / scratch-dent are in the $900-$1100 price range. Even some of the new prices are lower, around $900 for certain models / color tones. Or sometimes they go on sale! I got my JTV59 for a decent price when guitar cntr had sale, and zzounds did a price match (8 payment plan makes it a little easier to budget). Though I've since bought the rest of my gear from Sweetwater because of their 2 year free warranty.. But I digress! I hear ya though, they are not inexpensive, and if you need two, that's double trouble! There are somewhat substantial differences between the JTV59, JTV69, JTV69s, and the JTV89. Take a little time to read up on specifics, it goes beyond just the shape and style of the guitar. 59= les paul style, 69 = strat HSS style, 69s = strat single coil style, 89 = ibanez-esque 89f = floyd rose The X3Live is the same FX and amp models as the XT; they just combined the bass and guitar XT models into one unit. The newer HD modeling is quite good, though really doesn't try to achieve the scope of the X3, in terms of bass, mic preamps ,etc. But (to my ears at least) the HD modeling represents a significant upgrade in quality over the previous XT/X3 series. (I sold my X3L back in 2010 to buy an HD500). The HD500x is the same amp models and FX as the HD500 - it just has a little bit more DSP / processing power, and also has upgraded footswitch hardware. Same programming and interface. As far the James Tyler guitars, I can say, that I only recently went for the Variax, my first being the JTV59. It's a great instrument, and the Variax modeling is quite an experience! The older firmware for the JTV, prior to what they are calling the first of the "HD variax (firmware 2.0)" is the same as the previous Variax models. The primary difference - prior to the newer firmware - is that the JTV's are also actual guitars, with actual magnetic pickups. And they play quite well, I use both the onboard mags and the modeling. They are supposedly made in the same factory in Korea which produces the PRS SE guitars. The HD500x and HD series (bean, floor and pro) all have VDI for the variax, which powers the guitar. And from what I can tell (this actually confused the heck out of me when I first got my JTV) is that the HD does support the Variax 300 / 500 600 / 700 also. Those all show up in the HD editor software as control options for 'force' or 'don't force' variax model changes. With the Tyler variax, you also get the tuning options within the editor / patch changes. And you can assign the knobs on the guitar to control FX parameters, like delay repeats or reverb mix, etc. The HD series is also the first to offer the Line6 link function, which is quite nice - though if you were worried about a mortgage sized equipment bill for the POD and two JTV's, then you will want a second mortgage when you start to shop the DT amps and/or the StageSource speakers. Cheesy as the marketing is, it really is the Dream Rig... :)

Nice! Yes, the HD is the best of what L6 has to offer in terms of amp models. I have the HD500, and it still sounds awesome four years on. The HD amp models were created from the ground up, and sound (to my ears) much better than the previous offerings. I literally sold my X3L to a bassist to help fund the purchase of my HD500 back in 2010. The X3 was the same as the XT, in terms of the amp models. The main difference, is the X3 series coagulated all of the existing offerings from the XT bass and the XT guitar, into one package, including mic preamps, etc. The 'new' AMPLiFi gear apparently uses the older amp model technology, which came as a bit of a shock to many folks around these parts (myself included). Some other things to consider about the HD gear - which may not mean anything to you *yet*, but down the road, if you choose to go this route, you will able to connect a Variax, like the James Tyler Variax guitars, to the POD HD, and power the guitar via the VDI cable. Also, the HD series introduced the Line6 Link function, so if/when you get an urge to look into the DT amps, or StageSource speakers you can do some awesome stuff there. Those two items are unrelated to your current needs, so I won't go on extensively about them - but, for me, it was four years of using the HD500 as a recording interface, plugged into small desktop type speakers, and sometimes into the FX return of my various random solid state amps. Earlier this year, I got a DT25 1x12, and it really does a great job of bringing the HD amp models to life; the partnership between the Bogner tube amp and the Line6 digital models is quite effective. Then, I went down the StageScape / StageSource road, to start building a PA system for my band to use at gigs and rehearsals, and it's also an amazing interface to use with the HD gear. So, in general, with just the HD you will be happy as heck, and then if/when you want to look into the JTV, the DT, or the StageSource gear, you will already have the starting point in place. Cheers! And have FUN :)

I was experimenting with some rig ideas on Sunday, and stumbled into the notion of running dual outputs from the JTV. I ran the VDI out from the JTV into an HD500, and the 1/4" out from the JTV into an Eleven Rack. I had those both going stereo XLR into the M20d mixer, out to a pair of L2t's. I also tried running the 1/4" FX loop out from the HD500 into the Eleven Rack, placing the FX loop block as the first FX block in the HD500 patch, same XLR out to the mixer. Are there any issues I should be aware of that would impact using this type of idea? I wasn't sure if there were any latency issues using both outs on the JTV at the same time vs the FX loop idea. In general, it sounded good, but I did notice some added white noise that I wasn't really able to mitigate; not sure if it was power issues connecting multiple pieces of gear like this. Just an idea, I am not 100% certain I would use this type of rig live- somewhat overkill, but definitely cool to be able to do looper jams, and rather cosmic dual FX processing. My other idea, which I haven't tried yet, is to run the XLR out from the DT to the XLR 'mic in' on the Eleven Rack, and set up processing on the 11R as more of a mastering / tone packaging idea. Take out the 11R amp models, maybe run it so it can put the mono DI into some kind of stereo form, not sure what I intend with this yet. In general, I want to avoid adding noise or signal degradation, so would stick with (just) the JTV+HD+DT if I can't make the noise go away~ thanks!

If you can afford the $$, get an HD500x. Just because you don't intend to use every one of the FX on the HD500, doesn't make it any less of an excellent tone machine. A couple of thoughts for you to consider: - Line6Link: when using an HD500 or 500x with the DT, you can connect them using the L6link feature. This is utilizing the preamp portions of the HD amp models, while using the DT to provide the rest of the signal. It configures the DT amp to run in "combo" or "stack" mode, depending on the type of DT. In your case, "Stack/poweramp". This option disable the mic and room modeling from the HD500; however the XLR out on the DT adds cabinet modeling back in ,so that signal sounds appropriate for recording and sending to the PA, monitors, etc. - "Offline" tone creation: when not using the DT amp, you can still dial in your patches and FX routing, utilizing the HD500 in 'studio direct' mode at home / studio, etc., and use it for direct recording, or direct monitoring to any available speaker. There may be gig situations where bringing the DT is not feasible, and being able to bring just the HD500x will enable you "your sound" in a portable form. I personally build my patches with *very* sparse use of the FX. Compressor, Drive, Reverb, and Delay. Sometimes I will add a second reverb and set the footswitch to toggle between two reverbs, usually a light, subtle spring 'verb, and something more spacious, for effect. -JTV guitar: if you ever decide to get on the Variax train, the HD500 is a very useful item to have for pairing with the JTV. All additional control features aside, the HD500x powers the JTV, which is a good thing. Beyond that, you can do a whole ton of cool things with an HD500x, in terms of how the JTV interacts with the HD500, like, set certain FX parameters to be controlled by the tone knob on the JTV. Like drive, gain, delay settings, etc. It may seem like overkill, when you intend to only use a few pedals. As far as the non-HD500 pedal route, I definitely love the simplicity of one or two good pedals. Keeley is my all time favorite pedal designer. That being said, since you already have the beginnings of the 'dream rig', at least take some time to read up and if possible, plug in and listen, to what the DT and HD do when paired. One last thing, the most recent DT firmware update does allow you access all the HD amp models on the DT - I am not sure about the specifics of how that works, I think you still are limited to the # of channels hardwired on the DT, but I think you can now assign any of the HD models to any of the settings on the DT, replacing the 'stock' four or eight or whatever it comes with. I use an HD500 with my DT25 1x12 combo, and so I never actually did the DT firmware update. I think you need a MIDI interface to update the DT firmware, it doesn't use the standard USB to L6 Monkey type connection. That's my two cents! I just look at in terms of, two or three good analog pedals will cost more than one HD500x, new. I mean, a Keeley 4-knob comp is around $250. A Keeley Time Machine is $290. To get a decent collection of volume pedal, wah, compressor, noise gate, distortion pedal, reverb pedal,chorus pedal and delay pedal, you could easily spend $2,000-$3,000. While it may not *seem* now like you need all those pedals, that is really just the tip of the iceberg for many people, in terms of 'stock' effects. Why I like the HD500 route so to speak, is you don't have to use ALL of these FX at once. You program your favorite amp models, and you dial in FX blocks that you like, and create a handful of good patches, using FX where needed. I just like to know, that if I need them, any of the M-Class (M9, M13) series FX are available without any added cabling or pedal power needed. And since most external pedals run in series, when the one in the middle of your signal chain goes out, the whole pedal train stops working. But that's just my opinion! I actually feel pretty at home programming patches, and using 'digital' FX. I did it backwards from you; I bought my HD500 in 2010, the DT25 in 2014. By then, I had gotten accustomed to programming the HD500, using it with a variety of amps and monitors, speakers, PA's, keyboard amps, etc. Plus used it ALOT at home for recording. So for me, the DT was a natural extension of the rig I was already at home with. So I can why you are looking at it as, do you really need the HD500, or will the DT with some pedals do the trick? That's why I suggested plugging an HD500x into your DT rig, and see what the L6Link does for your sound, see if you like it, and how it works. Cheers! Best of luck to ya finding the right fit for your rig

Personally, I think the point Radatats made was well spoken, and with the intent to help, and offer valuable insight. Personally, I totally get what he was saying, and I experienced that myself as I was learning to use both 'real world' gear and multi-fx units during my formative years. Myself, you, you, you - or anyone else who wants to delve deeper into musical tonal exploration can benefit from the point of view he offered! And he was 100% correct, though it may not apply to everyone equally. Lord knows I have benefited extensively from taking the time to listen to what people have to say; to see it from their point of view. There is always something new to learn in the world of music equipment, and the most important part of what Radatats said is totally applicable to anyone trying to get the most from their equipment. Considering the amp models were created - especially the HD amp models - by Line6 collecting the *actual* equipment they created models of. And I quote: "Quite literally, we went back to the drawing board for over 3 years to develop a brand-new suite of tools that would capture, analyze and translate a tremendous amount of amplifier data. During that time, a dedicated team of amp hunters scoured the globe to amass a dream-worthy collection of amplifiers for us to model." So, it follows that it would at least help anyone trying to use these amp models, to have some basic "hands on" experience with ACTUAL guitar amps and FX units. The tangible experience of dialing knobs and adjusting physical, analog components forms the bedrock of understanding that can then be later extrapolated into the world of virtual amp modeling. Like I said in my reply, anyone with an AMPLiFi is in league beyond where I started! Playing lousy guitars with a rather horrible solid-state Fender, ugh - I could have made far better choices in stomp boxes, amps, guitars - but we all start somewhere. Maybe the complexity of deep editing amp models and composing FX chains comes naturally to some, or with enough experience they become experts, like Glenn DeLaune. Not me! I tend to go *very basic* with my patches, because when I try to do much, it just sounds horrible. Personally, I know I benefited from my initial learning of the basics of hands on the amp - even if my amp was not the best quality - compared to the AMPLIFi, my first gear was *total garbage* (no offense to Fender, generally they build great gear!) Later down the road, when I started with multi-FX units, I didn't have a clue about connection types, best way to connect the FX units to the amp, or even how to get a good recording signal. Digitech, Boss, etc. Experimenting with different amps, cabinets, and using actual microphones helped me understand a whole lot about how my favorite musicians got their tones on my favorite albums and songs. It wasn't until I moved up to the X3Live that I really started to "get it", in terms of hearing the models as responding like their real world counterparts. Understanding the difference between overdriving a preamp vs overdriving the tube poweramp. Learning what putting a compressor pedal in a tube amp fx loop does, and understanding what folks meant when they talked about 'rolling off' the guitar volume to 'clean up' the tone. Doing that with a REAL amp first was crucial for me, so that I could find ways to transfer that experience to the "virtual world" of the POD experience. Alot of these variables contained in the new world of high tech amp modeling gear - POD, Eleven Rack, Axe Fx, Kemper - are attempting to emulate a valid correspondence to real world equipment. And that's awesome! I mean, you can literally model your own equipment with that Kemper profiler. WOW is all I can say to that!!! I mention Glenn DeLaune, because besides being a professional and extremely proficient musician, he also has a webpage where you can pay money for his presets for a variety of this type of gear. He didn't get *that* good at programming without a solid real world background; and that's all Radatats (IMHO) was trying to convey. Plus he has a cool vibe in his tutorial videos that doesn't come off as elitist, he just seems to honestly enjoy sharing what he knows. Which is what Rads was trying to do. I personally really enjoy the HD500 for it's deep editing features, and the Line6 link is worth it's weight in gold. Others may not be interested in such options, which is why AMPLiFi could be a good option for them. I think, just from looking at the grill that the AMPLiFi was born from the StageSource speaker design, which inherently puts them into the "hifi" realm. I personally wish the gear didn't depend so much on using third party equipment (iPad) to control and adjust the tones; for me, that seems very frustrating - but that's just me, and doesn't really have any bearing on the merits of this new equipment. As always, God Bless Line6! They keep it interesting, they keep pushing the boundaries of what gear sounds like, how we interact with it, and their tools are some of the best in the business for making Music FUN! And their stuff sounds amazing; that's what we are all after, in the ends. Cheers everyone! Happy First Saturday of SPRING!!! :)