ColonelForbin

Not to hijack the thread, but could you briefly explain how to do that? I know there is something to do with pressing and holding the 'guitar model selector' down until the LED's blink. As I understand it, you assign the virtual capo to one of the alternate tuning selector positions. As the JTV guitar understands it, the 12th fret is considered "0", so if you want to, for example, drop the tuning down one octave, you would strum the notes in the open position one at a time. Then to write it to that alternate tuning choice, you repeat the press and hold for 3 seconds. Anything I missed? I was wondering about that feature, and since I am still quite new to the JTV world, had not yet attempted to use that feature!

It sort of depends on what the scenario of your home is - We just moved into our first home, have been doing apartment living for the last five years, and just recently (January this year) bought a DT25. It's loud, like, really loud. You can play it in low volume mode. You can also just plug the 1/4" from the HD500 out to the back of the DT25, into the FX return. That will allow you to use the HD500 in studio/direct mode. In terms of recording, if you have a computer, you have all that you need. Plug the current headphones or speakers into the audio out of the POD, connect the USB cable to your computer, and load some recording software. It's not like you need to go spend $700 on Pro Tools 11; there are free audio recording programs. The POD is the soundcard, and does a fine job with the ASIO drivers. I actually just bought some L2t's, which should arrive today or early next week, so I am pysched to jam in the (finished, carpeted) basement at the new home. It's pretty hard to properly use a 25watt Bogner/Line6 tube amp when you live upstairs, and have downstairs neighbors! In terms of home monitors, there are a plethora of options; I was very recently comparing prices and brands - KRK, M-Audio, JBL, there are several 'budget friendly' options, in the $300 to $700 / pair price point. Those type of 5" and 8" woofer, powered two way monitors are usually priced 'each', so for example the KRK Rokit 8" G3 is $250/each, the KRK 6" G3 Rokit is $150/ea. JBL LSR308 (8") is $250/ea, supposed to be pretty nice. LSR306 is the 6" version, $150/ea M-Audio has two way and a three way models, different look in the three ways, both sets in 6" and 8". The two ways, (Carbon) BX8, BX6- are the $150 / $250 price point, the three ways are M3-6 and M3-8, which go for $250 and $350/ea, respectively. For the most part, any of these kind of powered, semi full range, mostly flat response speakers will perform well with the HD500. If you can crank up the volume at home though, and your budget can withstand the G.A.S., definitely take a closer look at the 1x10" L2m/t and/or the DT25. They are two very different approaches to interfacing with the HD500. The L2/L3 are true full range / flat response. The DT amps are really a Bogner tube amp with the Line6 modelling interface. The manner in which the HD500 "talks" to the DT25 is really quite amazing, and you need to be able to play at more substantial volumes to really appreciate what it can do. The HD modelling on it's own is great, but it does come to life in a unique way with the DT gear.

At this point, you might as well go with the 500x. I bought my 500 back in 2010, and it hasn't given me any problems, but I haven't used it heavily, and it hasn't been gigged out with more than a couple times. The newer DSP is a good bonus, and any footswitch upgrade is typically worth the extra $. Not sure what the original 500's are selling for these days; I'd expect you can score a 500x on sale for less than $500 anyway.

yeah, +1 to that question! It would appear the AMPLIFi "amp" is XT/X3 technology, wondering what they went with for this; likely the same, with the IOS controls. Seems like they could have come up with a way to "link" this product with the AMPLIFi amp; but from first look it doesn't appear that is possible (other than with a 1/4" cable). It would be cool if there was a built in wireless / bluetooth option to let these items talk to each other, but from the looks of how they pitched it, they aren't going that route. Still, cool idea! Personally, I am focused on procuring a nice pair of studio monitors for my home setup. I am also having some major G.A.S. for a pair of L2T's and an M20D mixer.... Thankfully Sweetwater won't give me a $4k+ credit line ;)

They could have a great market going with PRS SE + Variax, considering they are made in the same factory!

It's funny you mention that! I was just thinking the other day that it would be cool if Line 6 branched out and starting partnering with other guitar companies to offer the Variax as a component upgrade. IE, buy a Gibson Les Paul - with "Variax On Board". Or, buy a PRS with the cool birds, 24 fret - with Variax. Anyway, it's a tough decision. Going from a Squier up to a nice instrument, will definitely improve your playing. And the price point is tricky, because for what you will spend on a JTV, you could get a pretty nice PRS. All that being said, I have a JTV 59 tobacco, and it's a great instrument. You could say, since these guitars are built in the same factory as the Korean PRS SE models, that the JTV when used as magnetic pickups only, is very, very similar to playing a PRS SE. In terms of interfacing with the HD500x, the JTV will give you some cool options that you will not have with other 'regular guitars'. Also, when using the JTV VDI cable to connect with the HD500x, you are doing a different analog to digital conversion process - it's handled by the guitar, not the HD500. As for the Variax models, thats already digital, so it's a pure digital interface to the HD500. I have a USA strat as my other guitar, the HSS like you mentioned. I haven't touched it in a while, having too much fun playing the JTV. Obviously the JTV USA is Wayyyy out of the budget realm, and in most cases a PRS USA custom 24 is going to be upwards of $3k anyway. If you find a good sale on the JTV you can probably get one for closer to $1,000. The JTV59 is currently at $1500 most everywhere; when I bought mine in January it was just over $1,000; guitar center did a sale, and Zzounds agreed to price match. You probably will want to get your hands on the different JTV models, and even if not full on connected to a POD, at least just play them, and see how you like the feel of the neck, and compare it to a PRS SE, in terms of "just guitar" build quality. In terms of function usage of the Variax tech, the JTV 69 has the standard strat style 5-way toggle switch, whereas the JTV 59 has the Les Paul style 3-way switch, and thus relies on pressing the alt tuning knob to alternate the 3-way switching to the additional options. In terms of interfacing with the HD500x, when using VDI you can switch pickup and guitar models patch by patch in the HD500, which can be very useful. Switch with your feet from a les paul model, to strat model, to an acoustic model, to a banjo model, etc. The "Reso" models are interesting; banjo, sitar, dobro. And the acoustic models are a nice bonus. Essentially a JTV is a PRS SE style and quality build with an added piezo pickup system linked to a Line6 variax modelling system, offering both 1/4" out and VDI output - so you can do some cool things with sending the VDI to your POD, and then sending the 1/4" elsewhere - another processor, dry recording signal, direct to PA, whatever. So, as much as I love PRS, you might get more mileage out of a JTV. Just in terms, of being able to hear approximations of all these different instruments, pickup combinations, and the flexibility you will have interfacing with the HD. And, the onboard magnetic pickups actually sound very good, and are an excellent option. But if you can score a sweet PRS for a comparable (around $1000-$1500) price point - then that will always be a great investment. I see the custom 24 for around $1400, the S2 Mira for around $1200-$1300. One thing to consider, is many of the online web store (Zzounds, Sweetwater, etc) will do a payment plan, where using your own credit card, they charge you monthly installments. Like layaway, except you get the guitar now, and make payments while you already have the gear. Just watch out for the credit card offers, they can zing you with the full interest if you miss a payment or make a late payment. Looks like Sweetwater has the JTV69 sunburst "on sale" for $1400 right now. The JTV69 black is $999. But before you go that route, definitely read up on what people have experienced using the variax tech with the tremelo piezo system. The JTV59 is a fixed bridge, so it doesn't impart as much mechanical noise as the tremelo systems; however, there are some folks looking into replacement parts from GraphTech for a replacement piezo option

Yeah, it comes with the primary crucial stuff. The USB cord is standard, like the kind you connect a printer to your computer with. You will just need the obvious stuff, 1/4" cable(s) to plug guitar into it, 1/4" to go from HD500 to an amp. Does not have any RCA outs. Has the standard 1/4" headphone jack. It's worth mentioning that when using the HD500 connected to a PC, the HD500 should be designated as the soundcard, if you want to use it for recording. In that case, the audio playback / output is routed out the main 1/4", XLR, and headphone outs on the HD500, so you will need the speakers connected to the POD to hear anything. You will definitely want to deal with the monkey. The Line6 Monkey that is. It's their software which allows you to update the HD500 to the latest and greatest firmware / flashware. Just do what it says, in terms of disconnecting the USB cable when it says, power cycle it when it tells you. Do that first, using the login you have here to connect and register your gear with L6. When it prompts you if you want to save your patches during update, say 'no' for these first updates. Once you have everything updated on the HD500, Monkey should also install drivers on the PC, and the HD Edit software. Do yourself a favor, and get ALL of that out of the way first. While drinking those beers! ;) For me, I like to start in studio/direct mode. Especially if you intend to connect to a PA. Once you get a DT amp, that changes everything, but for now, studio/direct is essential. It's your new best friend. If you have any amps, use the FX return. 1/4" cable from HD500 (L) (mono) out to the 1/4" FX return on the amp. In studio/direct mode... This will sound most correct for the time being. Now, no offense intended to the onboard presets - but skip them, all of them. Head straight to a blank patch. Choose an amp model. Play. Choose a different amp model. Play.. Repeat, adding beer as needed. When you are feeling adventurous, head over to CustomTone and snag some patches. Load them into HD Edit, using the 'send' function will transfer them to blank slots on the HD500. I suppose same goes for the onboard default presets. The reason I say 'start with the blank patch', is there are some SERIOUS volume differences between patch to patch. Like, scary big volume jumps. Auditioning a few of the HD amp models will give you a good sense of what this thing has to offer. Also tweak the mic choices; any given amp model will sound radically different based on the mic choice. Again, because it's studio/direct, this is the setting which will sound 'right' for direct recording, direct to PA, and to any FX return of an amp - because you want to bypass external preamping and tap the HD500 tone direct to a power amp with as little coloring as possible. The reason I say use the HD edit software, is because it makes it a good bit more obvious when you look through existing presets, and when you want to set up your own.

I am offline right now, but I did load the patch in HD Edit, and I noticed you do not use an amp model for this patch. It is worth noting that when using L6Link between the HD500 and the DT25, in single amp-block patches like this, when you do not choose an amp model, the DT will then default to whatever is defined on the actual DT amp in channel A - I think. It may be worth verifying this behavior. There are actually a few threads on here from people trying to get the JTV acoustic simulations to work properly. If you define two amp blocks, make amp B 'no amp', and then choose an amp for block A, but 'mute' it in the mixer (on the HD500) it should achieve what you are trying to do, which is bypass all preamp / amp models. This thread by radatats: http://line6.com/support/topic/5553-acoustic-solution-for-jtv-with-dt-amps/ I am in the middle of moving, so I am eager to get settled in the new house and get my studio room all set up! It may be a couple weeks though, before I can really dig in, so I have to live vicariously via others until then... :)

Two things: First, what he said is 100% correct - when you search Google now, AMPLIFi is at the top of the list, right in front of Amplifi Commerce. And second, I came off like a total lollipop bashing the gear, and I feel like a jerk for the things I said. Happy with my DT25, HD500, JTV59, and happy for anyone who is happy with their AMPLIFi gear! It's a cool idea, and a very interesting concept. It sits in a price point similar to lower cost studio powered monitors, and I could see them expanding the line to compete with some of the offerings from KRK, M-Audio, etc. I am currently looking at those exact products for my home studio; the three way KRK with a 10" woofer is $500/each. M-Audio has a three-way coming out soon with in-line mid and tweeter, and the list is $350/each. Anyway, signing off, you won't hear negative energy from me anymore, sorry to anyone who found my misguided ranting and raving irritating, disingenuous, or disheartening. :) "It might seem crazy what I’m about to say Sunshine she’s here, you can take a break I’m a hot air balloon that could go to space With the air, like I don’t care baby by the way Because I’m happy Clap along if you feel like a room without a roof Because I’m happy Clap along if you feel like happiness is the truth Because I’m happy Clap along if you know what happiness is to you Because I’m happy Clap along if you feel like that’s what you wanna do!"

Ditto + Ditto + Ditto! Yeah, same exact experience I had; HD500 in 2010, just dropped the hammer on getting a DT25 and JTV59, same finish early this year. It is quite a nice looking axe, I agree. And it's wicked fun to play! :)

I just found these; still creeping up in price, and was wondering if they are worth the extra$$? Yamaha HS8 http://usa.yamaha.com/products/music-production/speakers/hs_series/hs8/?mode=model review: http://www.musicvilla.com/yamaha-hs-series-powered-studio-monitors/ review: Yamaha HS8 Last post, gotta do some research on my own - but for what it's worth, Zzounds is doing a cool little bundle for the KRK's: http://www.zzounds.com/item--KRKRP8G3 scroll down, on the right side they have a bundle option, $550 for two KRK's and some other stuff - Nady mic, Samson mic, two mic stands, two XLR cables, and Nady headphones. Cheers everyone!!

One note that may be a factor: http://www.sweetwater.com/store/detail/ResolvA5/ "Sorry, the Samson Resolv A5 is no longer available." ---- The SE5 is $125/ea, the SE6 is $150/ea, and the SE8 are $200/ea Samson Resolv - SE6 6"

I will have to add Samson to my compare list; they also have an 8" woofer speaker for $200/ea. Woven carbon fiber woofer, not sure how that compares to Kevlar? Samson Resolv - SE8 8" http://www.samsontech.com/samson/products/studio-monitors/resolv/resolvse8/ PreSonus also has one for $250/ea (kevlar 8" woofer) PreSonus Eris E8 https://www.presonus.com/products/Eris review: Eris E8 Dang, too many options! Mackie: (polypropylene woofer) Mackie MR8mk3 http://www.mackie.com/downloads/mrmk3/manuals/MR8mk3_OM.pdf

Yeah, my experience with Behringer stage gear is not as epic; we used a Behringer 16 channel mixer and a pair of those powered speakers. Everything worked, it just was never great. The mixer has developed some channel inputs over time, but it held up for the most part. I realized that $250/each price point for the studio monitors is a pretty even playing field. They for the most part have around 8" speakers, seems to vary from brand to brand in terms of power, and tweeters. Kevlar for the most part. I was wondering, in terms of quality comparison ; What is a ribbon tweeter vs. silk dome?

Anyone have any experience / opinions about Behringer monitors? They have a couple options in the 8" and 8.75" speaker size, for between $200-$250/each. Behringer Truth B2031A Behringer Truth B1031A Behringer Truth B3031A http://www.behringer.com/EN/Products/B3031A.aspx Or, in a similar price point, M-Audio: (this one is new from NAMM 2014) M-Audio BX8 Carbon http://www.m-audio.com/products/en_us/BX8Carbon.html review: M-Audio BX-8 press release: M-Audio BX-8 Seems like a multitude of options for around $250/each, KRK has an option as well: KRK Rokit 8 http://www.krksys.com/krk-studio-monitor-speakers/rokit/rokit-8.html review: KRK Rokit 8 (G3) review: Rokit5 G3 JBL also has a similar option: JBL LSR308 8" Active Studio Monitor http://www.jblpro.com/www/products/recording-broadcast/3-series/lsr308 JBL press release: JBL LSR308 review: JBL LSR308

On a completely unrelated topic, love the avatar pic! Dark Side of the Rainbow - so cool when the film shifts into color in sync with the music, so bizarre.

That's actually a really good idea.. Especially since they have voyaged into those waters with the AmPlIfI gear

I ended up getting an amp stand at Guitar Center, I think the brand is 'Proline', cost around $40. I don't think the base is wide enough the slide the HD500 under it, though it does hold the DT25 nicely. Adjustable height, seemed vaguely sturdy. Model# is PL7000 Here are links to a couple pics of mine with the DT25 on it: pic1 pic2 pic3

Yeah, you got it. The key, as you noted, is that the audio output to the speakers is connected to the POD. It will route the same signal to the 1/4", the headphone, and the XLR outs. In a pinch, if you have a guitar amp with an FX return, just hook it up to that. Or, get some nice KRK powered monitors! Though, any powered speaker system will do. Heck, plug it into any stereo receiver with an AUX input. I have some XLR to RCA cables I use for recording, or as your image shows, really anything will do.

Yeah, I sounded like a broken record; I re-read some of my initial reactions to the AMPLIFi, and what I wrote came off sounding rather less than savory. I think that for me, the comparison triggered a defensive response, because I had just purchased a DT25 (and since I don't have alot of $$ either, had to do the 8 payment plan). In terms of "WTH" does that mean, well - it means the DT/HD series represent the current pinnacle of Line6 modelling and FX technology. Quite seriously, I can 100% see L6 releasing an "AMPLIFi-HD" if they can. I don't know the specifics of this DSP vs that DSP, all I know, is for me, personally, the HD500 sounds better than the X3. That doesn't necessarily mean the AMPLIFi should be judged as equivalent to the X3, which is the logic error I made, when lambasting the AMPLIFi as "less" than the DT / HD series. For all I know, L6 has a future firmware planned which will offer the HD / M13 series as part of the AMPLFIi tone modelling! Who knows. Certainly, I do not.. In terms of money well spent, that criteria is defined by each and every one of us. For me, I love the DT25. I already want another one. After that I want some StageScape L2/L3's, and I want a StageScape mixer. Because I really, really like the L6Link feature. So for me, the AMPLIFi vs HD/DT was a relatively straight forward mental reaction. For others, maybe they have gear that is even better than the HD/DT pairing, so for them the AMPLIFi was a gift from heaven. What I can say, is I just received my ProTools11+ElevenRack bundle, which for the price, the 11R hardware was basically free; same cost on sale at SweetWater as buying the ProTools11 software by itself! Score... :) Happy, Happy, can't wait to plug it all together. In particular, I am psyched to use the 11R as the soundcard, to capture various versions of the signal from the HD500 and the DT25.

A good place to start will be with the HD500x in "studio/direct" mode. Plug the 1/4" out from the POD into the FX Return on your AC30. As silverhead mentioned, in terms of connecting external gear like the Boss looper, add an FX loop block. Double check the FX loop settings / switches, to be sure the levels are set properly. There should also be some control in the FX loop block, for boost/cut on the send / return. Ideally, you would want the FX loop with the looper in it LAST in your signal chain. You may need to experiment a bit with this. You might want to set up the rig as mentioned excluding the looper for starters, and dial in a sound you like using a blank patch, and building it from scratch. Audition some of the amp models until you find something that makes you want to play guitar, and zone out for a bit. Then, doing an A/B comparison between the HD500 fx loop on and off, get the levels in the FX loop block and the external Boss unit, so whether the fx loop is on or off, you get equivalent volume. In terms of the FX loop block, the "Send" value will let you choose from 0dB, and from there you can cut, to as much as -80db. For the "Return" value, it starts at 0dB, and will let you boost to as much as +24dB. Here is a .zip of a patch, four versions of same patch, as just a starting point. Plexi, AC30TB, Tweed, and Blackface, amp models. Same FX settings in each. Fx loop set as last in chain. Plus reverb, delay, compressor. The footswitch controls are as follows: FS1 = Tube Compressor FS2 = '63 Spring Reverb FS3 = Digital Delay FS4 = HD 500 FX Loop FX Loop_4 patches.zip

Sweet! That's a great idea - more FX in the fx loop is always welcome. Actually, I just bought a copy of ProTools 11, and Sweetwater had it on sale as the "Eleven Rack + ProTools 11" bundle, for the same price as just the software elsewhere, so new gadget for me to play with! Plus the 11R also functions as soundcard, so will have some good options for doing scratch guitar tracks direct while mic'ing the drums for recordings. I am going to experiment along those same lines, maybe even fuss around with the 4CM, between the 11R and the HD500.

I know how ya feel. I used to gig quite a lot, and then took several years off playing to allow some neck, back and wrist injuries time to heal. Spent most of my energy during those interim years being part of the audience, and doing a fair amount of live band recording. Had a blast, major fun. Getting (slowly) back into playing music, with a healthy dose of revised technique and semi-regular visits to a chiropractor. I recently sprung for a JTV59 and a DT25, have had the HD500 since 2010. I had similar frustration levels with the AMPLIFi release. The marketing stuff gets to me even when I don't want it to, so like a tone junkie, moth to the flame, it made me want one. Until it was actually released. Then it made me want a second DT25... I have high hopes for the future of this company. The power of Yamaha behind them may drive their product development - and their follow through - to newer, better levels. There are always going to be glitches, and issues and problems and inconsistencies. It would be nice if the majority of those items were ironed out PRIOR to selling people equipment. Though, that's apparently not always possible, whether its gear, software, or any other thing. I like the parts of the 'dream rig' that I use, and I ignore the parts I can't make sound right. I have ProTools11 + and Eleven Rack on the way from SweetWater, it should arrive Monday. I am psyched to get moved into my new house, and maybe by the end of March will actually have time to sit down with everything and do some recording, tone comparison, re-amping, and all kinds of cool stuff. From people who gig regularly's point of view, I can see what you are talking about. There is a big difference between hauling gear to and from gigs, and rehearsal rooms, vs just having it set up in a studio environment. Tubes will fail, things will get loose, and repairs will be needed. It would be awesome if L6 created a product line aimed at that type of rigor Stage Worthy vs just Studio Worthy. I guess I am glad the AMPLIFi isn't up my alley, that money went to the ProTools purchase. So I can record some awesome music, compose, write, and experiement with new sounds and new musical ideas. Learn new songs, and enjoy being a musician again, even if it's only in my own time, or in casual jams with friends. When I gigged alot, lollipop happened! That would be a great shirt, BTW. I mean, I have a crystal clear recording of our guitarists Mesa Boogie MKIV frying a tube mid song; while we had him mic'd up loud and clear through the main mix. What a horrible sound.... It was awesome that it WASN'T ME making that noise, I tell ya. But we swapped the rhy guitarist to a direct DI, gave his amp to the lead player who just tanked his Mesa Boogie, and on the show went five minutes later. I think there is a fine line between expecting reasonable performance from gear, vs "hoping it works right each time". In this case, I side with those who would like more consistency from Line 6, in terms of how, when, why and what - the causes of problems, the source of solutions. You shouldn't need an on-call gear tech, but most of the actual pros have just that. Amp tech, guitar tech, etc. It would be nice if the things that work at home work at the gig, though that's not always the case. Things like AMPFLIFi are - to me - a bit of a distraction. It's like they need to distinguish between "pro" gear, "studio" gear, "gigging" gear, "touring" gear, and then fun gadgets like AMPLiFi. AMpLiFi is awesome, what a cool idea! But, it's full of glitches right out the gate, and compared to the DT series or even the HD, it's not particularly equivalent. I am reading people being frustrated trying to dial in tones, or even interface with the gear without using the third party IOS / Android stuff. And I get where they are going. CLOUD based everything these days. Ever since the Supreme Court refused to hear that Cablevision lawsuit, the floodgates opened. I see ads for cell phone now offering cloud storage. I see the Comcast X1 and soon to be X2 DVR platform. They will soon have DVR services, where you record the shows and watch them on ANY device, in home or out. Record the Grammy's or Oscars on the DVR service, and watch them on the train to work on your iPad the next day. AMPLIFI is that mode of thought. Your tones are not stored on the device, they are saved in the CLOUD. How that translates to working / gigging / professional musicians, is something that remains to be seen. The AMPLIFI would be stellar if it had "X,Y,Z" was the mode of critique that consumed my thought process. But even the $2,000+ StageScape mixers and L2/L3 speaker systems have their fair share of problems with crashing, etc. Perhaps a more thourough testing period should be included, as preclusion to sales to the general public. Maybe a less trigger happy Marketing Team, concerned with sales and figures, being balanced by more stringent application of testing, revision and quality control. I for one would definitely rather wait to buy something that is done right the FIRST time, over waiting with baited breath for the "somewhere down the road" firmware update that may or may not solve particular issues. God Bless China, but perhaps we need some product fabrication a little closer to home. A good example of this 'half-baked' approach is the AMPLIFi app and the unused USB port, and the "to be released later" MANUAL. Who does that? Not gigging musicians. Not professionals. People who want to SELL and meet DEADLINES. That's who. Big missed opportunity just to make it in time for NAMM 2014. But this isn't endemic to Line6 alone. Back in my younger days, I played a game on the Apple called "Ultima IV". Recently, a "freemium" / "pay to play" type version of this game was launched. It only works on the newer IOS devices, despite OVERWHELMING demand for Android and PC versions. It's STILL not available on Android or WIndows, well over a year into the release of 'Ultima Forever'. They nickel and dime you for little add ons here there and everywhere. The game still crashes for people, it's a trainwreck. I realize Line6 at some point - with the release of the X3 series, dumped that idea. They used to sell all those little expansions packs for the XT and whatnot. Now, they just sell you the gear, then you wait for firmware updates, which are FREE, to finally correct initial release problems. Makes me think "reverse mortgage". Now, only time will tell. I don't linger long on the negative these days. Anything that gets me exploring music I see as positive, even if it's not 100% perfect. Music affirms Life, and if you want to save your Life from the demons that will come along, embrace music. It will get you through the worst life has to toss at you. Winston Churchill said: "It was the nation and the race dwelling all round the globe that had the lion’s heart. I had the luck to be called upon to give the roar.†and: "If You are Going Through Hell; Keep Going."

Just took a quick look at the HD500 editor, offline. This behavior may change when actually connected to an HD500/Pro, but I see that when swapping between amp models, I am noticing that the corrsponding typology, pentode/triode, and class A, A/B settings do not seem to change with the amp model selections. If possible, load your patch into the HD editor, and define as much as you can there, in terms of: Mixer section: panning L/R, and DT1, DT2 audio source. I would guess that by defining these as DT1 / Amp-A= "left" and DT2 / Amp-B="right" you will get the proper stereo split, which should also set the two DT's to the two amp models chosen. Amps section: Class A or A/B, pentode or triode, and typology. According to the manual, these settings should all be controlled by the amp / pre model selection. "The DT amp automatically configures its power amp Topology settings to match the selected Amp Model A or B." You will also notice, that when selecting "full amp" models vs "pre" amp models, in the full settings, there is an additional tab called "amp parameters", in addition to the "cab parameters". This is found, in the HD edit screen, on the AMPS tab. That extra tab handles settings for master,sag, hum, bias, and bias x. Not sure where you can control these settings when using PRE models, I would guess these are the types of factors which the Bogner handles, rather than being digitally modelled? DUAL DT test patch.zip

my bad on the HD300/400 stuff! Got too paste-copy happy. I thought I was copying those from the HD500 advanced manual, latest revision, seems like it doesn't quite cover the full explanation of what you are having issues with. What I was thinking with the manner in which two DT's are defined, is sort of addressed here: ------------ Note that if your current Preset has only one Amp Block, then no “Amp B†actually exists. In this scenario, any of the AMP 1 through AMP 4 options in the above Setup screen set for “Amp Model B†will output the signal from the end of Path B to the respective DT Series amp. Use the Multi-function Knobs 1 - 4 to choose the POD HD audio signal fed to each DT Series amp. Set the AMP 1 parameter for the first connected DT amp, and the additional AMP parameters for each consecutively connected DT amp. The available options for each DT amp are as follows. • L, R or Left/Right sends the Left channel only, Right channel only or both the Left & Right channels (summed to mono), respectively. This signal is derived from the very end of the POD HD signal path, therefore, it includes all active FX and Amp Models. (Note that you can utilize the POD HD Mixer Block options to change what is panned to each of the Left and Right output.) • Amp Model A, Amp Model B or Amp A/B sends the output directly from the respective Amp Model(s), wherever they reside within the signal flow. This audio signal includes FX Models positioned before the selected Amp Model, but not FX Models positioned after the Amp Model. • AMP A (CH 1): Sets Channel A of the respective DT amp to “sync†to the POD HD Amp Model A. (Also see “DT Series Amplifier - Channel A & B Operation†on page 3•8.) • The DT amp will auto-configure its tube power amp Topology settings (Class AB/A, Voicing Mode, Pentode/Triode, and more) to match the current POD HD500 Preset’s Amp Model A. • The DT amp Channel A and POD HD Amp Model A knob values (Drive, Bass, Mid, Treble, Presence & Volume) are synced. • AMP B (CH 2): Sets Channel A of the respective DT amp to “sync†to the POD HD Amp Model B. • The DT amp Channel A auto-configures its tube power amp settings to match the current POD HD Preset’s Amp Model B. • The DT amp Channel A and POD HD Amp Model B knob values are synced.