ColonelForbin

From what I can tell doing a quick search, there is no FX loop on the Spider IV.. Problematic, but not without an alternate option - this may seem counter-intuitive, but you may have good results getting the appropriate cabling to connect your HD500x out to the "CD/MP3 input", which I would guess is probably an 1/8" stereo jack. The reason I say this, is because you will want to bypass ALL of the preamp / input stages in the Spider, if possible - to hear "just" the HD500x tones. Not to say you can't rig this gear together any way you choose, and with the output modes on the HD500x, you can run right into the front guitar input on the Spider. However, for optimal recording tones, whereby the Spider becomes a powered monitor for the HD500x, you want a clean feed straight to the poweramp of the Spider, which should be accomplished by using that CD/MP3 jack. Not to disregard your favorite pedals, and of course with the programmable FX loop block in the HD500x, you will have very customizable options for where and how to place external FX in the signal chain - HOWEVER - do yourself a favor, and start with just the HD500x, and try creating patches using the onboard FX, and run your HD500x in 'studio direct' mode. This will allow you to do direct recording via the USB out on the POD, to your computer; while monitoring that tone with the Spider, using the CD/MP3 jack. As it's designed to be a playback option for already mastered CD's and MP3 files, it should (hopefully) give a nice clean, direct feed to the poweramp, and that is *crucial* to getting a sense of what the HD500 sounds like without shaping or coloring it with additional processing, eq, preamping, and other potentially unwanted tonal shifts.

The HD500x is a true beast of a tone machine; what I really like about my HD500 is that it sounds good through almost *anything*. In general, I use a very limited palette of the FX blocks. I still like how it sounds just using an amp model by itself with sparse FX, like a wah, compressor boost, a drive pedal, a reverb, and a delay. I do enjoy the spacial canopy of insanity that you can create, with the more cosmic reverbs, modulations, and assorted sundry wild and wooly other options. But what I love most is those amp models. I did finally get to plug in my Eleven Rack to a pair of L2t's last night, running it stereo into the M20d using the stereo line in block. Sounds great, definitely a nice alternate to the POD. Though, as an all-in-one type solution, the HD500 is hard to beat! Eventually I will likely add some kind of MIDI flooboard controller for the Eleven Rack, maybe use it as an alternate rig or something; figure out how to A/B between JTV, HD500, Strat, and Eleven Rack. Thus far, though, the HD500 still sounds more realistic - though I gotta give Sweetwater credit, the 100 custom artist presets that come with the Eleven Rack are play worthy and ready to go right out of the box. I was pleasantly surprised in fact, that they did a nice job with that bundle. Presets are usually not a good indicator of what the gear can do, and in this case, they nailed it.

Yeah, I was looking at the M3-6 and the M3-8 also. Still haven't made up my mind, but I can say, that it helped ALOT to get into a store like Guitar Center before buying, and take a look at the actual size of these various speakers. In terms of two and three way, the M3 uses an 'in line' mid range and tweeter setup, which may or may not be a good thing. M-Audio also has a two-way series that are lower $, the 'carbon' series. The 5" are $150/each, the 8' $250/each. I did a *ton* of research on monitors, here are a few in that more 'affordable' price point, all are two-way except for the M-Audio M3 series - of which you will want to read up on the reviews of that, and take a good look at how the tweeter and the mid-range speaker are mounted on top of each other. http://www.sweetwater.com/c405--Active_Monitors Presonus Eris5 5", $150/each JBL LSR305 5", $150/each KRK Rokit 5 5", $150/each Yamaha HS-5 5", $200/each Yamaha HS-7 6.5", $300/each M-Audio M3-6 6", $250/each Focal CMS40 4", $425/each M-Audio BX-5 5", $150/each Tannoy Reveal 802 8", $280/each Mackie MR8mk3 8", $250/each Line6 L2t 10", $850/each And a whole slew of others. As was mentioned above, for example the price of the KRK 10" is $500/each! However, the KRK 10 is a "true three way", meaning the three speakers are independent of each other in the casing. FRFR means 'full range flat response'. Take a look also, at the type of EQ controls on the back of the monitors, and also take a look at the type of inputs. For what it's worth, my guy at Sweetwater said the JBL LSR and the Yamaha HS series are both good options; however it's going to depend heavily on what you intend to do with them, and how much you can spend. Take some time to both look at them in person, and listen at the store, and get a sense of what you like, and what your budget can handle. In my case, I was going to get the M-Audio M3-8's, but they were out of stock, so I ended up going down a totally random other route, and bought a pair of the Line6 L2t's.. The guys at Sweetwater were super helpful, and they did recommend that I look at Focal, which for the most part, are crazy expensive. The reason I went with the L2t's is, I can use them at home for monitors, for mixing and for playing the HD500 and other gear through (acoustic guitars, drum machines, Eleven Rack, etc.) while also being able to use them for live stage monitors, or even as main speakers for solo / duo or smaller type gigs. They cost a fair bit more than the M-Audio, JBL, Yamaha, KRK price point. But for me, now that I have those L2t's, and having seen how big the 8" and 10" monitors were, I would be likely to go with around the smaller, 6" size studio monitor whenever I get around to revisiting that idea. M-Audio also has a lower priced two way monitor series, in the $150 to $250/each price point. I think the M3-8 were $350/each? The KRK Rokit G3 8" are around $250/each. There is also a bit of difference between studio monitors designed to be "neutral" and "totally flat" for mixing, like the Yamaha HS5 and HS5 ($200/each for the HS5 and $350/each for the HS8) - vs - for example, the KRK, which are designed to have more "hype", and may not be suitable for mixing, but might be great for listening to music, and running the POD into.

My intent, is to eventually add a pair of either L3m or L3t's, and use the L2t's as stage monitors for bigger / full band gigs. Went with the L2t's for scaling back, doing acoustic duo type stuff, and when it's not applicable, safe or feasible to bring the M20d mixer. Or even at gigs, for being able to run my HD500 in stereo in FRFR type rig, if I don't want to use the DT25. The L2ts seem quite manageable in terms of weight, which can be key. I went with the DT25 over the bigger, heavier DT50, because I just don't want to make my back any worse than it is! Plus, I prefer a reasonable stage volume level, so the main mix can be fuller, and in general, I prefer that single plane of sound for the audience, rather than stage volume for some things, PA volume for others. I don't care how small the club is, whenever possible, I like to mic the drums, mic the guitar amps, get the bass in via DI, or even mic the bass cabinet. Where the M20d is appealing, is being able to multi-track it all, so the main mix doesn't have to be recording oriented, it can be whatever the room requires.

Yeah, the move was brutal. We had movers do the main stuff on Sunday March 9th, but then it was several days after that of going to the apartment after work, packing more stuff, loading up my car, then doing the hour+ drive to the new home. Then after that, cleaning like crazy so the landlord could get in and start painting and all that. I had moved my bass gear and DT25 over two months ago to the drummers house, then at the beginning of March took all my guitars and the rest of my gear to the new house, so I am in musical withdrawal!

I am gonna find out tonight! I bought the gear from Sweetwater recently, and was moving to a new home. It's all still in the original boxes in my co-workers office where we work (same guy I jam with). I finally got the moving project done, and have the house to myself this weekend. Looking forward to a full-on three days of musical exploration. Tonight, I take it all home, and test drive everything after work. Tomorrow, after work, band practice at the drummers house, where my bass rig, and my DT25, and my buddies guitars, amp, and all his gear are setup. Hoping to test drive both the M20d to the L2t's, and run some multi-track recording of our jams. Got some new vocal mics for the singer to test, a pair of new mics for the guitar amps, and a set of Audix drum mics for the kit. Sunday, going to take a partial rig, probably the M20d and one of the L2t's to another friends house, and record him solo acoustic guitar and vocals. Same thing, will likely run it "live", and do the multi-track. I figure I will run him direct, mic his guitar with a mic, give him a good vocal mic, and probably put a pair of condensor mics' up just to get the "room" sound.

What kind of amp head? Essentially, by running the POD HD output into the amp heads FX return, you are in essence, bypassing any preamp portions of your amp's head. Power amp in is the same as FX loop return, as mentioned above. And also, to repeat the warning - NOT THE SPEAKER OUT OR INS. The power amp still has to drive the speaker. The POD cannot do this alone. One thing to look at, would be the line vs amp level settings on the POD HD500. A good place to start, would be use a totally blank patch, choose a full amp model, with no FX blocks. Set your POD to studio/direct or combo/poweramp or stack/poweramp. Dial in the settings on the POD, and get yourself to a decent volume level that seems right. Possibly check any mixer settings in the POD to increase your dB boost slightly. Or add a boost compressor, something along those lines to increase the volume in the HD amp output. Crank the master volume and channel volumes on the POD until it seems about right, then try alternating between the stack/poweramp output mode and the studio/direct mode. They will sound different, because the studio direct is emulating a cabinet with a mic on it, which may not sound bad, but might not be ideal - unless you also want to be able to run that XLR from the POD to the main mix/monitor mix, recording mix, etc. If you want to run an XLR from your POD HD500 to any PA or mixer, choose studio/direct. If you are going to mic your cabinet, and not run the XLR out from the POD to anything, choose combo/poweramp or stack/poweramp. This is what is happening when you run from POD to FX return OR to "amp in" on the head. In this example, your entire amp's preamp / tone stack / drive settings are being entirely bypassed, and the POD is now the preamp / drive / tone stacks. The primary difference between studio/direct and stack/poweramp, is the microphone and room modelling is OFF in the stack and combo poweramp modes. IT is ON in the studio/direct modes. Think of studio/direct like being in the control room, hearing your guitar through monitors, and your amp is in another room with a mic on it. Think of combo/poweramp and stack/poweramp, as the POD is replacing the preamp of your head/amp rig, and your amp is still behaving mostly like a real amp would, and to record, or send to main mix, put an actual real mic on your cabinet.

I had the same question; except, regarding the L2t vs L2m. Essentially, the answer others (Ron Marton) gave me was, in a word, flexibility. While the t vs m doesn't impact what you want to do with the JTV and HD500, it does matter if you want to be able to do things unrelated to that rig. For $100 more, you get an onboard mixer. If you ever end up with a second L3t speaker, you can then "Two way link" them together, and that activates both sets of mixers / all inputs on the two speakers, and automatically configures them to run in stereo. In that instance, for example, you could run your HD500 in stereo into the speaker mixer inputs, while also adding other musicians, vocal mics, etc. Here are the links Ron pointed me toward, which have some very good diagrams linked to visually explain that two-way link connection concept between two L series speakers: Small Stage Setup On A Budget Confused L2t V L2m

As Zap mentioned, there are some excellent options for the cables you will need. Nothing against the L6 brand, I think they are made in China. In particular, the Line6 VDI cable, for connecting your JTV to your HD500 is not the best. Some other kind users here in the forums, in other posts, turned me on to a company called Best-Tronics, they assemble custom cable lengths in the USA, and they are quite good - Belden cabling, Neutrik connectors, decent prices. I've ended up ordering a slew of additional cables from them since I had them make me a nice VDI cable, including AES/EBU for use as Line6Link, and some various lengths of XLR cables for mics. At the moment, their web store is being overhauled, but they will still take orders via phone and email until the new web store launches this Saturday, Cheers!

My chiropractor calls me sir; cracks me up! (pun, pun, pun....!) Yeah, you should be good to go with getting a sense of what it sounds like on decent headphones, and into the PA with your band. I ran mine that way until I was able to get a DT25. Just got a pair of L2t's, and I finally get to test them out this weekend with the guys, super psyched! If you have a monitor that you can run off the PA and make it your dedicated monitor, that will help. I found that the manner in which the HD500 sits in the mix varies alot when running direct. Once you get a handle on what you want to sound like and how to adjust accordingly, it will sound pretty good. Start reading up on the DT amps, and the L2 and L3 gear, because before long, you are going to inevitably want to hear what the HD500x can do with that L6Link feature. And if you get major G.A.S. (gear acquisition syndrome) like I did, your budget is going right through the roof, or right out the window.. (in a good way!) And I second Rads, stick around - there are some extremely knowledgeable folks here with a heap of real world experience, many of whom have been vital in helping me with my own questions along the way. Everyone starts somewhere! Lucky you, you picked an awesome place to jump on board the Line6 train. All Aboard!!! Cheers, Happy First Day of Spring!

In terms of going into your PA, that will probably be the manner in which you are most quickly able to get the sounds which your ears will be most happy with. Not that you won't be able to make the Marshall work - try that tip from the manual about using the 'pre' options of the amp models instread of the full, and try tweaking with the combo/front EQ settings. Now, when you run this HD500 into a PA, or mixer which is outputting to a PA, it's back to the studio/direct mode. This will also allow you to run recordings, in which, the studio/direct mode most closely resembles what you would hear if you were recording an amp in a room with a mic. Recording the combo front, stack, poweramp, etc modes will most likely sound, well, not good. Think about it as components, and what they do. Look at the Marshall. It has a tube preamp, and a tube poweramp. And then consider, that the POD is doing digital models of both of those things. It's going to help to envision the POD as a TARDIS (Dr Who reference) wherein all these amps fit into a tiny little box. They are real, they're in there! It's not just esoteric 'sounds like a marshall'. It's really a Marshall inside that HD500x, or really a Fender. (it's all about suspension of disbelief). The more you can understand how the gear works in the 'real' world - a point Rads made elsewhere, regarding the AMPLiFi gear - the more the plethora of settings this thing offers will make more sense, and be less random, in how you approach using the many, many, many settings and tonal adjustments your new gear has to offer.

Sir Radatats of the Knights who Say Ni! ;) "We want a Shrubbery!" Ok, so real quick answer to the original poster - output modes are basically telling the POD which of the modelling components to send out, and how to adjust their tones / sound to best suit the type of amplification you're using. In your case - the SLASH signature model Marshall - you are gonna need to do some tweaking to make it sound right. By that, I mean, the "studio/direct" which was referenced is an output mode designed to feed a 'full range / flat response' PA or keyboard amp, mixer, or something along those lines. It includes the full gambit, of: - preamp modelling - power amo modelling - speaker modelling - microphone modelling - room modelling While no one says you can't run that right into your Marshall, you may struggle somewhat making all of those items sound good going into a guitar amp, which is expecting an instrument (guitar) HI-z level signal, as opposed to a line level signal or mic level signal. The other output modes Sir Radatats spoke of - "combo/poweramp" for example or "combo front", in your case. I believe the portion of the manual (go with this one) that you would want to check out starts on page 2.7: Start by doing this: Accessing System Setup To access the System Setup options, press and hold the VIEW button. Here you can configure several device functions, Input & Output settings and more. Page 4, Setup: Output Options The Mode setting on this page allows you to configure the type of signal fed to your POD HD500X analog outputs to optimize for direct recording versus connecting to an external amplifier. By "page 4", they mean page 4 of the system setup, in your POD. Knob 1 selects the Output Mode. This is a global setting. • Studio/Direct: Typically the best option when connecting “Direct†to a mixing console or recording device. This signal includes “Studio†Cab Models, Mic Model and an “AIR†convolution to best emulate a mic’ed amp within a room. • Combo and Stack settings: Optimizes your tone for connecting to an external amplifier. The signal includes “Live†Cab Models,with no Mic Model or “AIR†convolution, with a special EQ curve added for each. • Combo Front & Stack Front: For connecting into the front input of a typical combo amp or amp head + external cab, respectively. When choosing either of these Modes, you’ll see the following additional options for further tone shaping: Lows (Knob 2): Attenuates the low frequencies. • Focus (Knob 3): Increases the overall midrange. • Highs (Knob 4): Attenuates the high frequencies. • Combo Power Amp & Stack Power Amp: For connecting to the power amp of a combo or head amp. TIP: When using the Combo or Stack options and connecting into a tube amplifier, we also recommend that you choose a Preamp Model from the Amp Model menu (rather than one of the “Full†Amp Models). HD Preamp Models include no power amp emulation, making them typically better suited for this connection. That said, there is no wrong choice! PODs have always been about flexibility... Check out all the possibilities and decide which Models work best for your tone!

For just a thought, this is an excellent point! I started on a really loud, really lousy 2x12 red knob / grey grill, solid state Fender Power Chorus. For a young kid, as I was then (and still am at heart, despite my nearly 41 year old aging creaky boned body, went to the chiropractor again yesterday self) that amp was the bees knees! It had *built in chorus and reverb* ;) And that's kinda the points rads makes; even though the tone on that thing was horrible, and it eventually just stopped working, it gave me a good understanding of what the basic principals of volume, drive, EQ, and FX processing were all about. Ahhh, good old 1989...!.... I eventually went through a variety of fx pedals, stomp boxes, this that and the other thing. Digitech something or other, led to some Boss gear. When it all finally "clicked" for me, was with the X3L. Which is probably why so many people are frustrated by the AMPLiFi experience; it's taken the technology into non-intuitive realms, for many, an unwelcome departure for those who have become accustomed to the manner in which the POD style equipment. That doesn't make it *bad*, it's just a different beast. I can understand why someone with - was it a five figure main rig (NICE!!!) - has no problem looking to the AMPLiFi as a good alternate to their primary rig; gig saved, probably works awesome backstage to stay warmed up before the set starts. In all likelyhood, for those who have a mountain of gear waiting on stage, with intricate settings, and time consuming set ups, this is a welcome simple, good sounding piece of gear. Oddly, despite it possibly being intended for the more casual or novice user, it has a particular niche among those who already have the best gear they can get, and want something far less complex. For the new guy or girl, learning chops, and looking to explore tone sculpting and sonic exploration, they may actually find themselves frustrated by the lack of tangible knobs, dials, levers, and adjustment mechanisms. All I can say, is you are still 1,000% better off with the AMPLiFi than with a Fender Power Chorus, you lucky peeps! :) Holla if you remember the red knob Fenders!

That same thing threw me for a loop; Line6 assigns those tags based on how many posts a user has made and/or how many of those posts are +1 (favorably) reviewed.. I swiped my nickname from Phish / Trey Anastasio's "Gamehenge" saga, the character Colonel Forbin gets transported to Gamehenge, where he has to do battle with the evil King Wilson, and help save the Lizard people with the help of The Famous Mockingbird and the Helping Friendly Book~ :) The avatar pic, is of course, Captain Avatar! Anyone old enough like me to remember Starblazers??

Yeah, I get what you mean. I used a Rondo case for that same concept when I had an X3L. I bought some thick / dense type grey foam, and did a whole custom slice up to velcro the X3L into the "lid" (shallow part) of the Rondo case, since when you open the case, the two pieces detach from each other. I cut the foam to sit inside the lid, so there was something under the POD, but you probably don't even need to do that. At the time I was also using the EX-1 external expression pedal, so I also made room for that to the side of the X3L, and even channeled out slots in the foam to run the 1/4" cables. Overall, it works well. The lid side that you would velcro the HD500 to is relatively thin, and so you just have to get used to lifting your foot up slightly more to hit the pedals. One thing I can say, is with the foam under it, it gave the action of pressing your foot down a "spongy" feel, which is not ideal, and if I end up ever recreating the concept for my HD, I would either use less spongy material under the POD, or just skip putting a layer under it all. Found this pic in the archived forum, was surprised it still linked through!Looks like the source pic is on Glenn DeLaune's website: http://www.glenndelaune.com/images/X3Live_case.jpg http://line6.com/supportarchive/thread/49607

For the cost, and given that you are on the X3L; it might be hard to justify the expense. I own an HD500, a DT25, a JTV59, an M20d mixer, an Avid Eleven Rack, and a pair of L2t's; I am just getting back into playing music after a few years hiatus, and working with some guys, trying to get ourselves gig worthy. I approached the thought process of all this gear, as being able to both mix from stage, and record multi-track at rehearsals and gigs. The idea that I could also do a small gig with just one L2t is also appealing. The "t" has the onboard mixer, the "m" does not. I also like the idea that if I want to run the POD in "studio direct" instead of using the DT25 in link mode, the L2 would be a nice option. Flexibility was paramount in my decision. I took a long time to upgrade - bought the HD500 in '10, just made the leap to the rest of that gear over the last few months of 2014. For the X3L, the StageSource would be a great sounding option; but a big part of the expense comes from the thought that you would eventually want to "scale up". That being said, I was just about to buy the L2m, when I read some previous posting and conversations centered around Ron Marton's observations here and here about what you get with the L2t for $100 more than the L2m. Do yourself a favor and before you buy anything, read why Ron thinks the "t" is worth the extra $100 over the "m". Especially if you intend to use it in small clubs as well as at home. With an L2t, you would be able to run your X3L into it direct, and also have a mic going, and another friend plugging their instrument in as well. And for what it's worth, the L2/L3 (not sure if on both m and t) have an "acoustic" modeler, that when you attach a piezo acoustic guitar type pickup to it, it can emulate the sound of that guitar as it is mic'd. That is a cool idea; the direct sound of an acoustic can be a bit clanky, and it's difficult to make it sound right with things like EQ, etc. With one L2 speaker and none of the L6Link capability, you maybe don't need to go that route. But in terms of spending around / at least $400 on the EV, you may at least want to do yourself the favor of researching how a pair of L2t's (or L3t's) can be two-way linked to create a stereo sound system, and how the inputs can be used "sans outboard mixer", IE, you can use the onboard mixers on both L2t's to run a small rig of vocals, guitars, mics, etc - without needing an additional outboard mixer. IF you ever intend to upgrade to the HD500 system, or want to eventually more fully utilize the expandability of the StageSource and StageScape systems, you can "try" those speakers with zero risk at the moment. For example, if you have the $$ to buy at least one, places like Sweetwater are doing a full "we'll pay your shipping back to us" offer on the L2t's. I see a link on Line6 where they say "test drive StageSource at no cost" I don't know the EV so can't comment on it as a comparison to the L6 gear. EV has a 12" speaker, the L2 has a 10". The one important key distinction really centers around the L6Link function, both to other L2/L3 speakers, to an HD500 modeler, or to an M20d mixer. That is where you get the extra cost value from. Read up on how they auto-sense their vertical or horizontal orientation, and when daisy chained using the L6Link, they define themselves in the signal chain as monitors or mains accordingly. That being said, you would have to spend a serious amount of $$ to get a full system, of a couple mains and a couple monitors, which ultimately, may be a temptation you would prefer to avoid, with a new family, a budget for $4,000+ in audio gear may not be in your forseeable future. ALSO, there are comments regarding the fan issues in the L2m & L2t. Line6 has stated they are looking into a different fan system for cooling, so down the "Line" (please forgive the pun!), there may be a newer / upgraded version of these speakers. I don't know. Personally, I will finally get to test drive my new L2t's tomorrow afternoon, so I will have a better idea of their volume, clarity, and how well they work with my HD500 and test their Link capability. I liked my X3L, I used it for years. I ended up sellling it in 2010 to fund the purchase of an HD500, and while the HD series is very "guitar" focused, as a system, it does allow substantial upgrade options using that L6Link. Again, all comes down to volume needs and budget constraints!

I've been wondering the same thing. I've been using Adobe Audition for a while now; but just recently made the leap to ProTools 11. I am definitely up against a steep learning curve! I guess there is something to be said for shaking up the comfort zone on these types of things. But yeah, the 24/48 is pretty standard. I know, at least with Adobe Audition, that when I record 24/48 with my Tascam, I end up having to save them out as some kind of 32 bit, so it can write a .pk file, which allows to quick load into saved sessions. Not sure how other software handles that kind of thing; and quite frankly, not entirely sure what the difference is, nor do I know how the M20d handles the .wav files it saves; likely similar to what my Tascam does, though I can't yet confirm that.

Yeah, I have been going with Sweetwater for everything now; their 2 year warranty pretty much sells it for me everytime. I had been getting some gear from Zzounds because I liked the 8 payment plan, but now I just go with Sweetwater because ,well a two year warranty! They are also cool about giving honest feedback. I had called there to place an order for some studio monitors that I was jazzed up on, but not 100% certain were right for me. The guy literally talked to me for like half an hour, an in the process I talked myself out of what would have been a rather expensive 'impulse buy'.. As for them exchanging the AMPLIFi for an HD500x - when did you buy the AMPLIFi? It sounds like it was more than 45 days ago? If you are within that 45 day return period, you are all good. If not, definitely give them a call, and see what they can do. Beyond that, like someone else had mentioned, the AMPLIFi is still a new piece of gear, so you should have no trouble selling it on craigslist, eBay, etc for pretty close to what you paid for it. They may be able to work a deal with you with you covering shipping, and possibly a restocking fee? Not sure.. And as for the HD500x being the core of the DreamRig, yup, it sure is! I am pretty excited to plug my HD500 into the two L2t speakers, and A/B it against the Eleven Rack. My DT25 is at the drummers house where we rehearse, and I can say it's one heck of a nice little tube amp. Bogner + Line6 is a formidable union of gear. Good Luck!

This thing merits it's own topic independent of the AMPLIFi gear, where I had originally posted it. The actual hardware is now "real"; the photos of it actually look really cool. What excites me most is the HIGH DEFINITION AUDIO that it will allow us to hear. There are folks who will always say that iTunes and MP3's are acceptable, and that they can't hear the difference between 24 bit .wav files and uber-compressed .mp3 audio. And I am not here to rebuke or refute them - to each their own. I personally hear a WORLD of difference when I listen - using the same speakers - to high definition, 24 bit/48k and up audio vs. iTunes .mp3's. The difference is there, it's actual, it's real. We already know that vinyl contains far more musical / audio 'depth' that CD's, which are 16bit / 44.1k, and those are substantially higher quality than .mp3's, which max out at 320kbps. The problem with vinyl, is it's not 'convenient'. I personally have a ton of music in .mp3 format, and I rarely listen to CD's anymore; they haven't held up well over time, that and my CD player in my car doesn't really work well anymore. I don't even have a CD player connected at home, other than the drive in my computer. On the “low end†of higher resolution music (CD lossless, 16 bit/44.1kHz), PonoMusic files have about 6 times more musical information than a typical mp3. With ultra-high quality resolution recordings (24 bit/192kHz), the difference between a PonoMusic digital file and an mp3 is about 30 times more data from which your player reconstructs the “songâ€. So, yeah, I also gravitated toward the easily downloaded, shared, compiled, and organized iTunes format for the last several years. The file sizes are manageable, the shuffle options are great, playlists, etc. Why I believe in PONO, is because it offers that same ease of use. And let's face it, storage sizes have increased exponentially, and cost has steadily dropped or stayed the same as drive sizes increased. Terrabytes and more! • Ultra-high resolution recordings (192 kHz/24 bit): About 800 tracks. Anyway, I will definitely invest the $$ in this device when I am able to buy one, I will actually BUY the music I like in this format, and I personally cannot WAIT to pump the PONO through my StageScape speakers. The future is bright, and music is the light that leads the way. Cheers everyone, and HAPPY SAINT PATRICK'S DAY!!!!!!!!!!!!!!!!!!!! :) http://www.ponomusic.com/ https://www.kickstar...discovers-music PONO Player Image1 PONO Player Image2 PONO Player Image3 PONO Player Image4 PONO Player Image5

I gotta say, the actual hardware looks really cool - and it makes this whole concept a WHOLE LOT MORE REAL~! PONO, that is :) Kudos to Neil Young for believing in himself, and in the MUSIC!!!! https://www.kickstarter.com/projects/1003614822/ponomusic-where-your-soul-rediscovers-music PONO Player Image1 PONO Player Image2 PONO Player Image3 PONO Player Image4 PONO Player Image5

I see in the AX2 notes, that it has "an independent clean channel for plugging in a mic, drum, or tape machine," That's probably the ideal connection to run an HD500 into the AX2, if there is not an FX return. You want to just bypass the amp's preamp / fx / etc, and tap direct into the poweramp portion.

How much $$$ can you spend? I am intrigued by the AMPLIFi, but had already embarked upon the HD500 route back when it came out, and have been using it through a variety of amplification options - FX returns on guitar amps being the most common way I used, before buying a DT25 earlier this year. So, I think the AMPLIFi is a cool idea - though, when it first came out, I feel bad, because lambasted it in these forums as "just a boombox", and wrote alot of judgmental, semi-ignorant, uninformed negative comments about it, since it "wasn't HD". I got over being an angry lolli-pop and have since invested a fair amount of $ on some gear that goes in a decidedly different direction. (all in all, I bought a DT25, a JTV59, an M20d, and two L2t's) If you get a chance, definitely try playing through an HD500x. It's a *great* modelling unit, and the HD amp models are really, really good. In terms of 'amplifying' the HD, you do have a wide array of options, and they are all quite good - though the Line6 options are a bit expensive. I think, if you like the way the HD sounds, and you are not overwhelmed by the interface, you may find the experience closer to your comfort zone (it's definitely a learning curve). You may also have more luck finding "ready to go" tones on CustomTone, that you can literally drag and drop using a very simple PC based editor. (HD edit is great) As you progress as both a guitarist and as a technician, you can delve deeper into the editing parameters, FX block options, and in general, sound-scaping. So, the HD500 definitely gives you "room to grow" into it's rather robust "Dream Rig" options. For example, with the HD500 you have the option of going down the Variax route, and the HD500 does some amazing things when paired with a James Tyler Variax using a VDI cable. I definitely personally enjoy what the JTV has to offer! And, Among other things, what you will get with the HD500x that you don't get with AMPLIFi are: - recording options. The HD500 is an excellent ASIO soundcard, and with just a USB cable, your computer, and either some headphones or speakers of *any* type, you can make some high quality recordings of your playing. - looper. Especially for a growing guitarist, this can be a huge bonus. Perform a loop of some rhy guitar parts, and then jam over it - and that will all be recorded direct. You can also set the looper to run "pre", meaning it's the first part of the FX / amp signal chain, which will allow you to play a guitar part, then put your guitar down, and tweak the FX setting, or even audition different amp models. The dry guitar is the part recorded into the looper in that mode, so as you tweak FX and amp settings, the looper keeps playing through the changes, and allows you to dial in patches, audition new patches downloaded from CustomTone, or edit existing patches with subtle variations until you hear what you want. - XLR mic input. I don't use this much, but it's nice to have especially if you want to explore multi-track recording. You will be able to use your HD500x as a microphone preamp, for recording acoustic instruments, drums, vocals, etc. As far as "growing into it", the HD500x also offers the Line6Link technology, which is really, really cool. You can link up to four L6Link enabled devices to the HD500, and go crazy with your sound. But even just linking to a single DT25, it enables a whole other side of your Hd500 to be used, to create some really amazing tone. Which brings us full circle to my initial question: How much $ do you want to spend? The DT25 is an amazing little 25 watt amp, which is technically a Bogner tube amp, paired with Line6 digital technology. It's very loud - in terms of relating the distinction between 150watt solid state AMPLIFi and a 25 watt tube DT25, the DT25 is probably louder at it's maximum. I realize that's not exactly a fair comparison, but it's worth clarifying since not everyone understands the difference between solid state and tube amp power. The DT50 (50 watt tube) is most definitely, several times louder than the 150watt AMPLIFi. Like, painfully louder. ;) For example, the L2t, Line6's StageSource 1x10" powered monitor / speaker, with onboard mixer, is solid state, 800 watts. Their 2x10 L3t is 1,400 watts of solid state power. *serious volume*. But hi-fi / high def sound clarity. And they can also all be L6linked to an HD500 in various configurations. Many people prefer that "full range / flat response" option, vs the manner in which the DT and HD500 configure themselves when linked to each other. That's another conversation to itself, but the basic difference is in the output modes on the HD500. Studio/Direct is what you would use for direct recording, direct to PA / mixer use, and things like running the 1/4" out from the HD into the FX return of a guitar amp, to bypass the amplifier preamp and essentially tap the HD500 output directly into the power amp. Keyboard amps also work well with the HD500, when using it in studio direct mode. The DT25 is a different beast all together - it goes into combo or stack poweramp mode, and typically only uses the 'preamp' versions of the HD amp models, allowing the Bogner tube amp to recreate those poweramp characteristics, in the analog rather than digital realm. While you may not necessarily need to start off with all of that gear, for me it was a definite selling point that you can build your rig up slowly, piece by piece, and that it all integrates so well. I bought my HD500 way back in 2010, but only just added the DT25 and L2t gear early this year. And my HD500 still works fine and still sounds incredible four years on! So there ya go. If you can still return the AMPLIFi, the HD500 is an equal price point swap, and down the road when you have a spare $2,000 or so burning a hole in your pocket, the DT25 / DT50 and L2 / L3 gear is pretty amazing. As far as comparing the HD500 to other modelling gear on the market, take a look at these other options, even if to just compare and learn what these various options mean: -Check out the Avid Eleven Rack, which you can buy bundled with ProTools 11 for just a bit more than the HD500, around $700.While it does basically come nearly 'free' with ProTools (the software alone is only about $100 less than the bundle) it does not include a floor board, you would need to also buy a MIDI floor controller. There are several options, anywhere from $100 up to a whole lot more. Which is worth considering, as the HD500 is an all inclusive option for $500, whereas the Eleven Rack, while it does include ProTools, once the MIDI board is factored in is near, at or above $1000 total. Here are a couple compatible MIDI floor control options for use with the Eleven Rack: -Behringer FCB1010 -Stomp IO -Roland FC-300 -Voodoo Lab Ground Control -For a substantially great deal more money, take a look at the Fractal Audio Axe-FX equipment, it's a big step up in complexity and price. ($2,000+) -For a similar 'deep editing' modeller with a big price tag, take a look at the Kemper Profiler rack; people are saying some good things about that piece of gear. ($2,000+). If you don't "feel it" with the AMPLIFi, definitely look into other options! Especially if you are still within your return time frame. When you are battling with your gear to get good tone, your quest to explore the important part - "the Music" - will be fundamentally compromised. Gear is what makes the music possible, so your equipment should be an extension of your own "voice" as they call it. Your soul, heart, your fingers, your guitar, your ears, your amp, your FX, your tone. It must "speak" to you, and you need to resonate with it. Cheers! And most of all, HAVE FUN. Music is Good for the Soul, while it can be complex, challenging, and make you insane, it should also be enriching, exciting, exhilarating, and rewarding.

That is so freaking awesome, I am so psyched to do exactly that with mine! Once I learn how to use it..

On my lunch break today, I was unwrapping all the new gear that Sweetwater just sent me, and among the various goodies (Sweetwater lives by the name - they literally send you packets of candy!), there was an ad for this thing called "iLoud". I think the AMPLIFi sits along these lines of product, but the AMPLIFi definitely has more going on, both in terms of power, and the use of an actual Celestion speaker. Though it's interesting that IK Multimedia call it: "The first studio-quality bluetooth speaker designed for musicians like YOU!" http://www.ikmultimedia.com/products/iloud/ iLoud image

Yes. 100%, absolutely. Without doubt. All you need to do is listen, the depth and level of reality present in the HD modelling is far superior to what I got from my X3live. Getting back to the original topic, it's tricky, because the HD300/400, while they offered the same higher quality / better sounding amp models, they restricted the functionality. Form vs Function, the timeless debate! I think subjective has it's limits, ultimately, someone with good ears and talented fingers will be able to make an X3 sound better than someone with lesser ability on an HD unit. I mean, Glenn DeLaune made that X3 sound as good as it could get. He did some very specific things to tame the inherent fizz, and despite any pre-HD modelling flaws, that was a great sounding unit. For me, once I heard the Fender amp models on the HD500, that was it, the X3 was done, no going back. But that's just me! Where this new line is headed, is expanding the functional usage, into new realms of interface technology. I disagree with those who say L6 is steering away from Pro customers. In fact, the majority of their products since 2010 have been very Pro oriented, at a substantially higher price point than the newer AMPLIFi gear. -JTV59 $1,500 -StageScape mixer $2,000 -DT amps $999 and up -StageSource L2t $850 -StageSource L3t $999 So, from a business model standpoint, it just makes me think they are trying to balance their offerings. And the iOS idea is not terrible - the function to control the StageScape mixer with an iPad was actually a great idea, and it does seem that this AMPLIFi gear borrows from that idea. I mean, the greatest thing they have come up with recently is the L6Link, and I can see them running with that idea. Possibly these divergent lines of products and features will merge, offering you an AMPLIFi-HD, with WiFi, Bluetooth, L6Link, etc. In conclusion, I will end with some lyrics of this song, 'Clint Eastwood' by Gorillaz: "I ain't happy, I'm feeling glad, I got sunshine in a bag I'm useless but not for long The future is coming on My Future is Coming ON!"