ColonelForbin

The thing with using two DT's and only defining one amp model, is I believe one of the DT's then defaults to whatever the settings *on that DT* are. So, it could be that one DT is being fed a signal with a preamp from the HD, and the other is being only sent a guitar signal + FX into the preamp defined by the actual switch on the DT. I would guess you just have the one input defined on the HD? I know there can be some quirks with dual inputs, and how the signal chain is divided between amp A and B. For example, a user here (radatats) devised a solution for using the JTV acoustics with a DT amp. Some understanding of when the HD programming bypasses amp models is key to solving the dilemma you have. He defined two amp blocks, left one blank. Set the other to any amp choice, and set the mixer stage on that amp to 'mute'. Now, logic vs reality - this setup passes through a signal, whose volume is now controlled by the mixer block with NO AMP DEFINED. The tone stacks, and drive are no longer active, and the patch in essence passes the JTV signal direct into the DT power amp as if you had run a 1/4" into the FX return on the back. Take another look at how the dual-DT rig defaults to stereo vs dual amp, that may lead you in the right direction. Double check those mixer block settings also. This is probably a no-brainer, but also make sure they are both in full volume mode, and neither is set to the low-power mode or whatever it's called.

Well, I am definitely keeping tabs on how this all works out for you! I just have the HD500 and one DT25, but once it's paid off, I am seriously considering buying a second DT amp. It sounds like some of the issues are coming from how the HD500 patches are interacting with the DT25's, so when you get some working setups, if possible, post some of your patches? Good luck!

That is 100% a great way to go; it's exactly how I used my X3Live and then HD500 for years. I just upgraded to a DT25 in January of this year. Typically I used that with the L6Link, but even recently I was short an XLR cable, so I ended up running the 1/4" from the HD500 to the DT25 FX return, and it sounded great! Allows you to run a mono signal to that amp as your stage monitor, and take XLR from the HD500 to the house. You can even run that in stereo if you want. The KEY is this: Studio/Direct mode. This will give you a decent / useable enough tone from the amp, and give you a proper signal to be routed through the main and monitor mixes. I like to 'visualize' when I am using digital modelling, so as to best imagine what is occuring. You used the right term, your amp becomes your 'stage monitor'. Your "amp" is inside the HD500, and it's in a room in there, with a mic on it, in isolation. What you will hear is exactly that, and for many folks, it takes some adjustment to get used to the playing feel of your amp vs your amp mic'd. I personally love it. Makes me feel like my amp is some awesome perfect acoustic chamber with the mic positioned just right, and I am in the control room, with my guitar, playing my parts, and heaing the amp+mic+room cutting into the mix just right. "suspension of disbelief", much like enjoying a good movie, can be crucial to how you approach using digital amp modelling.

POD HD500 Advanced Guide v2.10 2•17 Page 9, Setup: L6 LINK Audio These options configure the POD HD500 audio signal fed to up to four Line 6 DT Series amplifiers and/or StageSource™ speakers using the L6 LINK connection. The settings for each of the 4 Amps are saved per Preset. Whenever one or more DT amps/StageSource speakers are connected to the POD HD500 - L6 LINK output, you’ll see each identified on the screen, such as the “DT50†appears as connected in the #1 Amp position in the above screenshot (note that these are indicators labels only and not stored per Preset). 1 - 4 Amp Options - Select the specific POD HD audio signal you want fed to each L6 LINK-connected DT amp/StageSource speaker. Note that the L6 LINK audio signal fed to each amp is mono. • Choose Left, Right or Left/Right (summed to mono) to send the main POD HD output signal. • Choose the output of one or two specific POD HD Amp Models - Amp Model A, Amp Model B, or both Amp Model A/B. • Choose Mute to silence any connected DT amp/StageSource speaker. This is handy, for example, if you are L6 LINK-connected to both a DT amp and StageSource speaker.* You can save some POD HD Presets with the StageSource set to “Mute†to allow an electric guitar tone to be heard through DT amp only - and other Presets with the DT amp set to “Mute†for an acoustic tone to be heard from the StageSource speaker only. Even better, if you use a Line 6 Variax guitar, these electric & acoustic guitar settings can be saved with your POD HD Preset as well! 2•18 Page 10, Setup: L6 LINK Control These options allow you to dictate how up to four connected Line 6 DT50 or DT25 amplifiers each “follow†the POD HD500 Amp Models & settings. Parameters 1 - 4 correspond to L6 LINK connected DT amplifiers 1 - 4, respectively. • Each DT amplifier can be set independently to follow either the current Preset’s Amp Model A or Amp Model B. • The DT amplifier automatically configures its power amp Topology settings to match the selected Amp Model A or B. • The DT amp controls are also synced to the selected Amp Model A or B. • Alternatively, you can select a MIDI Channel to set the DT amp’s MIDI communication channel. This effectively sets the respective DT amp to utilize its own internal Amp Model (rather than the POD HD500 Amp Model), and “syncs†its front panel controls with other DT amps that are set to the same MIDI Channel.

I use a standard XLR mic cable for my L6Link connection, doesn't seem to give it any problems. Regarding setting multiple DT's while using L6Link, the easiest way to test/program what needs to go on there, is using the HD500 edit software. You will notice all the various options for what can occur with routing. In general, it's also worth taking a look at how the fx blocks are positioned. For example, a mono FX block prior to the amp block will sum the audio prior to hitting the amp portion. If you are using two amp models, there are specifics for how they occur, how they respond to panning in the mixer block portion, and also how the DT signal is being routed by the HD. You can set them up as stereo, as dual amp, and a variety of other settings - which are most clearly indicated in that edit software. This routing is also impacted by how the inputs are defined. Regarding why you would choose a 'pre' instead of 'full' amp model, it's actually to do with the distinction of 'modelling' power amp response, vs. the Bogner portion of your DT's actually doing those power amp items. In a nutshell: -full amp models re-create the entire amplifier model, up to the cabinet. In studio/direct, the microphone and room sound is also modelled. In combo and stack poweramp modes, the microphone and room portion is excluded. HOWEVER, those output modes when used with 'full' amp models are still digitally modelling sag, bias, class A, A/B, pentode, triode, etc. -When using the PRE versions of the amp models, the only portion which is digital is the preamp of each amp model - the tone stacks, levels, and drive/gain settings. The Bogner side of the DT then handles actually switching betwen various analog relay switches to emulate, in an actual analog / tube / power amp stage, what each of those amp models would behave like. Here are some of the blurbs from the manuals, that are relevant: ------------------------------- Connecting Two or More DT Series Amplifiers edited - removed incorrect info regarding L6Link using HD300/400, now just links to the connectivity guide. Configuring the Audio Signal Fed to each DT Series Amp As presented in the previous Quick Start steps, it is possible to configure L6 LINK audio signals and control/sync behaviors independently for up to 4 DT Series amps. This is all accomplished using the POD HD500/HD Pro SETUP - L6 LINK screens. The SETUP - L6 LINK:AUDIO screen options to select your POD HD audio routings. These settings are all saved individually per POD HD Preset. • 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. 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. Configuring the Control Options for Each DT Series Amp The SETUP - L6 LINK:CONTROL options determine the “sync†behavior between POD HD500/HD Pro and each connected DT Series amp. When configuring L6 LINK Audio parameters for specialized purposes, for example, 4 DT amps all set to the same source for one huge mono backline, setting these Control parameters all to the same MIDI Channel provides the desired Control behavior. These settings are all saved individually per POD HD Preset, allowing you to create and instantly recall any number of different multi-amplifier configurations! Use the Multi-function Knobs 1 - 4 to choose the POD HD Amp Model or MIDI Channel for up to four connected DT Series amplifiers. • 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.

Just noticed that Sweetwater got more of the 11rack+ProTools11 bundle back in stock, on sale for $699. I have been looking to upgrade to a proper ProTools for some time. Currently, the 11R+ProTools11 bundle at SweetWater is the same exact price as the ProTools11 only at Zzounds, etc. Essentially, a nice hardware bonus to the already steep cost of owning ProTools11! Anyway, I have some multi-tracks from a band I used to be in that have been collecting virtual dust on a few hard drives, the sessions are all done in ProTools, so I haven't been able to work with them much. I am psyched to be able to lay some new tracks on those sessions, with my JTV/HD500/DT25 rig, and with the 11R coming with ProTools I am thinking that will give me some needed expansion options, for re-amping, recording dry signal, mic'ing the actual DT cab + using XLR out, etc. So, if any of you have any experience with the Eleven Rack, and/or running various combinations of the JTV/HD500/DT25 into ProTools, would love to hear from you. Cheers, and Happy Friday!

Axe FX is suppposedly a pretty deep editing experience, as far as virtual amp modelling goes; though I have never actually gotten my hands on one. One of my buddies plays guitar in the band "Digital Tape Machine", and he's been working with the Axe FX, and seems happy. While I don't know about the Axe-FX, I can tell you my personal experience with the DT25+HD500, and more recently with the JTV. The ONE thing that the DT+HD500 does, that *nothing* else out there can do, comes from the Bogner portion of the DT design. When the HD and the DT are 'L6-Linked' together, you enable analog and power amp related switching to occur, so instead of just modelling the characteristics and response of the amp models, you are reconfiguring actual relays, switches, and various actual components on the fly. As far as quality, it's hard to say - I would guess that for the price of an Axe-FX, you get what you pay for! Though, it's also still 100% 'virtual reality'. The HD500, as far as amp and fx models go, is quite good. I have used the HD500 since 2010, and only recently upgraded to a DT25 1x12 combo. I didn't want the weight of a DT50, and the volume / power was a bit more than I needed, so the DT25 was a good option for me. Thus far (I just added the DT25 and the JTV59 beginning of 2014) I am quite happy with what I am hearing, right out of the box. I used to endlessly tweak patches to get a decent sound, and now I am able to spend alot more time playing, and a lot less time patch editing. In terms of the Axe-FX, my primary concern for myself, beyond the price tag, is the literally unlimited options. The Ax-FX can do things, of course, that the POD series will never likely delve into. For me, I think I would spend all my time learning to interface with the gear; though that can be exciting, it can prevent one from focusing on the actual music. I was looking at the ElevenRack recently, since I was shopping ProTools, and they are bundling those two together for a decent price lately; essentially it's ony $100 more than the cost of the software to add the 11R. Not sure where they sit in the quality range; it's in the same basic realm, of amp and FX modelling as the HD and the AxeFX; 24bit, 96k, etc. If you get a chance, the key to truly experiencing whether you will like the Bogner/L6 DT + HD, is to make sure you are using the L6 link. It does require a difference in understanding of what you are doing to your sound. I have had to re-do all my patch building ideas from the ground up. The preamp portions of the HD amp models are all that is used when L6linking, and building patches using the 'pre' choice of the models. The 'full' version include power amp modelling, that is redundant when utilizing the actual power amp functions, which is where the Bogner portion of this rig really shines. While the HD500 does a great job of direct amp, cabinet and mic modelling, I can say I just prefer the tonal warmth of the manner in which the HD and the DT share these duties. I realize this isn't as specific as you might want, so hopefully some of the others here who have had their rigs for longer than I can offer more specific insight. The other bonus you get with the HD+DT rig using the L6Link, is the ability to chain up to four of the DT amps, and configure on a per-patch basis, what each amp will receive. You can set them as a basic stereo pair, left right. OR you can use dual amp configurations, sending each DT a different amp model. Again, the HD is only modelling the preamp portions of these amps, when choosing the PRE models for use with the DT. Tone stacks, gain, color, shaping. All the good stuff - pentode, triode, class A, class A/B, that is handled by the Bogner. I guess once you factor in the cost of an HD+DT vs the cost of an Axe-FX + power amp, you are similar in price point. Also, the newer StageSource speakers are also able to handle the L6Link features of the HD and DT rigs, so you could branch out even furthur into connection possibilities, by linking the HD to a DT and to an L2T or the like. Lastly, if you get a chance to L6Link an HD to a DT, do yourself a favor and try out a JTV as well. I can honestly say my JTV59 is a revelation in guitar flexibility, and for being a Korean made axe, is really quite nice. For pure simplicity of being able to change a whole bunch of things with one foot switch on the HD, it's a nice option - you can even store the choice of magnetic pickup or modelling pickup for the JTV within the HD500 patch. Meaning, switches the DT to a Fender style amp while changing your JTV to a strat. Next patch changes the DT to a Marshall Plexi and changes your JTV to the onboard humbuckers, or to a Les Paul model, etc. I upgraded to the HD500 from an X3Live, so I know how you feel, in terms of hearing the new HD amp modelling as compared to the previous offerings.

+1 to the ground loop comment, if possible make sure everything is plugged into the same outlet / power strip. For "reamping" again, just be sure your signal paths are divided, or you will end up feeding the XLR / mic signal and the source guitar dry signal into places you don't want them to be merged. Even though you are sending the dry out (a nice feature upgrade on the Pro over the floorboard), you still want to assign the guitar in and the XLR in as two seperate signals. Not sure the specifics on how the HD desktop handles the dry out when you have multiple inputs connected. I would guess it's dedicated to the guitar signal, but I would double check the manual on that. Here is a thread discussing wet and dry recording: http://line6.com/support/topic/1244-can-i-record-wet-and-dry-with-my-hd500/ Thread from the archive about re-amping: http://line6.com/supportarchivenew/thread/87448

To split your signal, be sure to use no mono FX blocks in the PRE amp position of the HD500. Pan the two channels hard left and right in the 'mixer' on the HD500. In the HD500, for routing purposes, assign channel one to guitar only, and assign channel two to XLR in only. When you send that signal via USB to the computer, you should be able to arm your recording software with two mono tracks, and assign the left HD500 to one track and the right HD500 to a second track. When placing mono fx blocks in the pre-amp position, all signals are merged. When there is a stereo fx block or none in the pre amp position, the two channels are left separated. -----from the manual----- Page 3, Setup: Input Options Input 1 and Input 2 Source (Knobs 1 & 2) - Select the physical input(s) that you want to be the “source†fed into the signal path. Note that you can choose different Sources to independently feed each signal path, or choose Same to feed a common Source into both paths. About Source Input Signal Routing: It is important to note how POD HD500 actually routes Source Inputs 1 and 2 through Amp & FX Blocks that are positioned “Pre†position. The following behaviors apply: • In a configuration with no Amp or FX Blocks in Pre, Input 1 is fed only to Path A and Input 2 only to Path B. Therefore, this is the best configuration if you want to retain discrete Input Sources into Paths A & B. • Placing an Amp Block or an active mono FX Model in Pre results in a “mix-down†of Input Sources 1 & 2, feeding the same, combined signal into each Path A & B. • Placing a Stereo FX Model in Pre results in the left channel FX output being fed to Path A and its right output to Path B.* • The Mixer Block’s Volume and Pan options provide independent control for Path A & B outputs before they are fed through any Blocks positioned “Post†the Mixer. • By setting Input 2 to “Same,†this effectively routes your Input Source to both stereo Paths A & B (which is how you can feed one guitar input into two Amp Models and/or parallel FX, for example). Model Types and Mono/Stereo Signal Routing It is important to note that some Models (all EQs, Wahs & Volume, and some Modulations, Filters, Pitches and Delays, as well as the FX Loop) preserve a stereo output within the signal chain, while others (all Dynamics, Distortions, all Amps & Preamps, and other various Models) are mono FX and do not. The POD HD500 Inputs 1 & 2 are fed into the signal chain as stereo (see “Page 3, Setup: Input Options†on page 2•4). Therefore, wherever a mono FX or Amp Model is inserted, the Left & Right channels of this stereo signal is “mono-ized†and heard as a two-channel mono signal at the Model’s output. To follow are a few examples: Ping

Yeah, I hear ya! I don't have as many years yet, been 25 years for me- but enough that I know what it feels like to rediscover what a guitar can do, and be pleasantly surprised. I just bought my JTV59 sunburst last month, preceded by only a couple weeks by a new DT25 - have had the HD500 since 2010. I am still on the fence, in terms of which 'firmware' sounds better- mine came loaded with the first iteration, 1.71 or something. I played it a few jam sessions, then updated to 2.0. Definitely a difference, though I hadn't spent enough time with the previous versions of the models to notice a substantial change in sound. I think of like this - the pre-2.0 firmware models are the end of the line for the previous Variax guitar and pickup models. 2.0 represents the very first "HD" offering of their Variax guitar models, so it can be assumed there will some issues - there are many, many threads on here of people battling back and forth debating the merits of each. I just didn't want to get stuck "liking" the old firmware, I figured eventually the new firmware will be updated again, and I'd rather build on the progress rather than be stuck in the past versions. The new acoustic guitar models sound stellar! Going VDI to the HD500 then Studio/Direct is quite a nice, noise free, clean and pristine sound. In terms of functional, practical notions-I can say, do quickly upgrade your VDI cable to something with shielding on both ends. The VDI cable that comes with the JTV is designed for connecting the guitar to the included USB interface box, and only has the XLR style shielding on one end. Line6 makes their own brand, and you can get it at Guitar Center, Musicians Friend, etc. It's decent, but it's not great. Some other kind folks on here pointed me toward Best Tronics, out here near me in Illinois. Their cable is far, far superior - it feels and looks like a proper instrument cable, it's made in the USA, and only ends up costing a few bucks more than the L6 version. They make them by hand in small batch, and their turn around is very quick. I bought one from each, so now I just use the L6 cable as my backup. here is what that BestTronics cable looks like: https://www.dropbox.com/sc/k3gw0wq29swywrn/Z-eHwBddww https://www.dropbox.com/sc/ialc2ujlst1wdma/Oek1BoCRS1 https://www.dropbox.com/sc/4a8dutdr4sg4zsk/NmGaSPbgZu

Oh yeah. At rehearsal, was messing with the new DT25 and trying different amp models. I think it was the Line6 'epic' that was about 10x louder than all the other amp models around it. Chord, strum, switch amp model... chord, strum, change amp model... Chord, strum, BLASTING LOUD SOUND.... Overall it's been like night and day compared to the hoops I was jumping through. The XLR out is quite good, I've been using it to record rehearsal so I can get a direct signal isolated of my tone to listen to later. The key to that is setting up the recording to mic level, not line level. I was getting the really low WAV file signal strength, and then when I told the Tascam to expect mic not line, it's much better.

Well, not necessarily wrong - just good to think about it in terms of what the amp is trying to do with the sound, vs what the HD500 is doing *to* the sound. In this case, if I understand what you mean - is that amp something like a Carvin TS100? In that case, I'd imagine it doesn't have an FX loop. You are in undiscovered country on this one.. I would guess there is a signal level or gain mismatch going on; not sure what is happening to be totally honest with ya. If I had to guess, something is happening that is over boosting the high freqs which are going out of control in the tube portion of the power amp, and then when it's hits air from the 4x12, you get feedback. Have you messed with starting from a blank patch, add an amp model, and get the levels listenable without the screech? You will want to dial in patches specific to this rig, possibly adjust the amp vs line setting on the HD, and double check the mixer settings in the HD 500. Do you have any other gear you can test the same patches on? For a straight ahead power amp like that, I would guess it can be used as both a guitar amp or a PA type power amp. If you take for example, a microphone or something, run it at appropriate channel level to a mixer, then send that output to the Carvin, can you get proper vocal levels without feedback?

Here's another little nugget of information I didn't realize as well: About Source Input Signal Routing: It is important to note how POD HD500 actually routes Source Inputs 1 and 2 through Amp & FX Blocks that are positioned “Pre†position. The following behaviors apply: • In a configuration with no Amp or FX Blocks in Pre, Input 1 is fed only to Path A and Input 2 only to Path B. Therefore, this is the best configuration if you want to retain discrete Input Sources into Paths A & B. • Placing an Amp Block or an active mono FX Model in Pre results in a “mix-down†of Input Sources 1 & 2, feeding the same, combined signal into each Path A & B. • Placing a Stereo FX Model in Pre results in the left channel FX output being fed to Path A and its right output to Path B.* • The Mixer Block’s Volume and Pan options provide independent control for Path A & B outputs before they are fed through any Blocks positioned “Post†the Mixer. • By setting Input 2 to “Same,†this effectively routes your Input Source to both stereo Paths A & B (which is how you can feed one guitar input into two Amp Models and/or parallel FX, for example). *Please also see “Model Types and Mono/

One thing to clarify about the input impedance - it seems to relate to the first effect in the signal chain. I believe before they added the feature to tweak this setting, it was globally set to 1M. I don't know what that means, but I suppose it could be causing issues, if the first effect is set to something that doesn't play nice with the Z setting. • Guitar In-Z (Knob 3) - Select the input impedance of the Guitar input. This feature affects tone and feel because your guitar pickups are being loaded as they would be by an effect pedal or a tube amplifier. I would guess a wah, compressor, drive, and noise gate would all possibly require different settings, so that's why they added the AUTO option, so as you change patches, it switches itself up. • Note: The Guitar In-Z setting affects the GUITAR IN input only. Please see the Impedance Ratings table at the end of this section to reference the input impedance of each individual model. Now that I am using the VDI from the Variax, it has changed my thinking about how the signal goes from guitar to HD500, in terms of the A/D and D/A conversion steps. Take a look at pages 2.4 - 2.7 in the latest HD500 manual; they actually have a chart with all the relative input-Z values based on effect, amp model. It states that all preamp and amp models are 1M. Then for example, each effect seems to have it's own value: (these are all in that chart) Screamer 230k Color Drive 136k Buzz Saw 230k Facial Fuzz 22k Jumbo Fuzz 90k Fuzz Pi 22k Octave Fuzz 230k All Other Distortion Models 1M All Dynamics Models 1M

Wow, there are so many possible factors I don't know where to start! I've had issues similar to what you describe, but it was coming from bad power in my 100+ year old building. I just recently upgraded my rig to include a JTV59 and a DT25, so I am rebuilding all my patches from scratch, and dumping the noise gate on all of them. I know how you feel, a noise gate is just a filter, and it does filter unwanted noise, but also filters tone and details that would prefer to not be filtered out! I guess, take a stab at some of these ideas to make sure everything is set up right for direct recording, and maybe simplify some patches for testing before going all in? For my background, started the lin6 adventure with an X3Live, went for the HD500 in 2010, and just added the JTV and DT25 in January 2014. 1.) make sure output mode is set to studio/direct. 2.) assign the HD500 as your soundcard 3.) double check the recording software settings and the HD500 settings - make sure they are all in the same bit rate and sample depth. IE, you will have issues if your recording software / device is expecting 16bit/44.1kHz, and your POD is digitally sending it 24 bit/48k. Ok, that's the obvious up front stuff. Next, go to a blank patch in the HD500. I would guess you are using a regular guitar, plugging in 1/4" input on the HD500? Double check the settings on the POD regarding the "Z value" of the input. I had left it to auto most all the time, but I did notice that tweaking this setting will alter the overall tone of the guitar when you start changing that value. Check the input pad setting, see if on/off makes any difference. Check the output setting - line or amp, make sure when doing direct USB recording, that the speakers are attached to the POD and not the computer. If you are hearing static or noise at this stage, you have another problem more like what I was dealing with, in terms of grounding issues, bad power, etc. If possible, make sure the computer and the POD are connected to the same power source. So, with no amp model, no fx, and everything as it should be up to this point, you should hear no fizz, no buzz, essentially you should be hearing dead silence. Take that empty patch, and assign an amp model - go with a high gain, noisier type amp model to give it a proper test. Mesa Rectifier, maybe Plexi, Bogner, etc. You may get some amount of noise from the amp model, but for now just ignore it and leave out the noise gate. One note worth mentioning - the 'master volume' on the HD500 does not impact the recording volume. The 'mixer' block does increase / decrease the recording level, which can be useful to know. You can turn up the mixer to send hotter to recording, and turn down the master volume for relative playing volume. Ok, so at this point if you have all of that in order, record something. Now, I don't know if your issue was you are hearing digital 'fizz' that you don't like, which is a part of the HD programming, or if you have wiring / power / pickup related issues, that the HD modelling is doing unwanted things to. I realize that's all pretty vague, but with this thing it helps to eliminate any obvious issues so we can focus on comparing equivalent concepts. I have been doing a bit of recording at band practice lately, with a little Tascam that had onboard mics plus stereo line inputs. I run a mono from my DT25 to one of the line ins, I take a mono off the mixer for vocals and anything else in the mix, and then point the onboard mics at the drum kit, or even just into the room to get an overall mix. In general, I am happy now with the overall sound of the JTV+HD500+DT25 as it pertains to recording, but I have had a fair bit of struggles prior to going to the JTV, when using 1/4" inputs to the front of the HD500, and using 1/4 outputs to various amps. In general, you should be able to at least get an accurate rendering of what an amp model with zero fx sounds like. Once you hear what you like there, add FX - SLOWLY - one at a time, and spend the time tweaking each effect to sound good on and off. So, for example add a compressor, and it doubles your signal level, then go into a stomp box that also boosts your level, all of a sudden you may end up clipping the recording. Hope that helps! One thing I can say, is when I first got my HD500 I was really mesmerized with the new amp models, and with the ability to direct A/B comparison between the HD500 and the predecessor X3L, I noticed a substantial increase in the amp model quality - but with it came a whole slew of additional parameters, settings, and choices - many of which I still do not fully comprehend.

I would expect this nuance is likely because the AMPLIFi does not have 'output' modes; not at least that I know of. I know it has that 'blend' knob, to dial between clean vs processed tone. The 'other room' sound is actually exactly how I think about using the HD500 in 'studio/direct' mode. I think of it as my amp is in an isolation room, and I am in the control room. I am thinking about it as hearing the amp+microphone+room > into a mixer, through full range / flat response speakers. I would imagine as L6 has more time to tweak the control function of the iOS and Android app interface, we will likely see an improved response to adjusting tone. As it is now, it seems like they intentionally left off the majority of standard tone controls, so as to not need a two way link between amp and app. For example, when using L6link between a DT and an HD500, the tone controls on either device adjust settings on the other device. Turn a knob on the DT and you see it turn on screen on the HD500. For the ease and quality of function, I'd imagine that type of back and forth isn't pratical / possible with Bluetooth and an app. I guess if it was, we'd already have wireless VDI and wireless L6Link! I'd know what to say to help you get proper tone from the gear I am familiar with, but with this gear, it's all a new frontier. Dang, though now you made me want to try one out at Guitar Center!!! :)

I suppose one other item to mention, is when using the DT in full power mode, the reason you'd want to go with the "PRE" amp models, and not the "FULL" amp models, is because the pre models allow the DT to process the amps as preamp only, and allows the Bogner tube amp portion of the rig to create actual power amp characteristics, rather than digitally modelled versions of those components. Essentially, anyone using a non-DT amp, would want to select the full amp models, then run it in combo or stack poweramp mode, using the 1/4" out to the 1/4" FX RETURN of thier amplifier. The combo front and stack front modes are for instances when you cannot or do not want to plug the HD output into the FX return of the amp you are using. The front jack of any guitar amp is designed to take a guitar signal, and it shelves the EQ in such a way to render a pleasing tone via the speaker. For example, if you plug a line level signal, like a keyboard, into the front jack of a guitar amp, it probably will sound horrible. That's because the low end is being filtered and the high and mid frequencies are being boosted. Which is why the POD in non-studio/direct modes sounds weird when going into recordings, main mixes, etc. - it's designed to be heard through the guitar amp cabinet, not a full range / flat response speaker system.

Yes, that makes sense - though to clarify, simply placing the HD500 into non-Studio/Direct doesn't in of itself disengage the cab modelling, it just turns off the mic modelling. I suppose it's worth noting, that if you are not using the L6Link, IE, with non DT amps, the way to go - in my experience - is always run the output from the HD to the FX RETURN of whatever amp you are using. This ensures that you will bypass any preamp portions of your amp, and give you the best shot at making it all sound right. Here's how I imagine it, when I am adjusting tones: Studio/Direct is your amp in another room, with a mic on it. You are in the control room, hearing the signal of your amp + microphone + room. You can see your amp, but it's in that room behind glass walls, and you are in another room. Whereas, the combo/poweramp and stack/poweramp modes are you in the same room as your amp. For example, prior to my recent DT25 purchase, I used a few 1x12 combos, all solid state, two Fenders and a Marshall, in various combinations from 2010 to now. I liked switching between studio/direct and combo/poweramp, to 'audition' the amp as if it were right next to me, dial it in, then switch to studio/direct, and scroll through the mic models, until I head a setting that did a good job of rendering what I wanted to hear for a recording signal or live / monitor direct signal. I think what messes people up, is the combo and stack poweramp settings are very different from the combo/stack 'front' settings, which are all radically different than the studio/direct. There is a term which applies well here: suspension of disbelief. To get this gear to work and sound right, you have to suspend your disbelief. Imagine your amp is actually a Fender Blackface, or Marshall Plexi, or whatever the HD amp model is set as. Picture the distinction of being in a room with a 4x12 half stack vs a low-watt 1x12. Otherwise, it's just a bunch of random settings which have no 'real world' correlation. Once you start to 'hear' how each amp model behaves, and what all the controls do - for example, the Divided/13 amp model has TWO gain settings, it turns one of the tone knobs into a gain control - you'd have to know that prior to tweaking the settings, otherwise you'd expect you are controlling one variable, when in fact, you are adjusting some other setting.

Just to clarify: combo/poweramp and stack/poweramp do not turn of the cabinet modelling; they only turn off the microphone modelling. And yes, those modes when listened to via direct recording, or through a full range / flat response PA speaker or similar monitor will sound 'fizzy', 'buzzy', etc. - especially when using stomps, drive, distortion, etc. And yeah, the studio/direct mode is the ideal mode for sending direct signal from the HD500 to a mixer or monitor, but it's not ideal for use as your sound going to an amplifier, and that boominess / low end boost can be overwhelming. Try simplifying your approach somewhat, in terms of what you are doing. Set up an HD500 patch with no FX, just an amp model - maybe start with the Plexi. Set up your gear, use the L6Link, etc. Now, imagine you are plugged into a Plexi, and dial in the gain, eq, and volume. Get a tone that sounds good to your ears; it should sound good; at this point, shouldn't sound fizzy or weird or anything, and if it does, something else is wrong. When I first got my HD500, as an upgrade to the X3Live, I literally just played for hours, auditioning only the amp models, before I even tried a single FX block. Even now, I create very minimalist patches, with as few FX possible, since the purity of the amp tones is so amazing. Anyhow, from there, put a '63 spring reverb into the post section, put a dynamic delay after it. I usually make those FS3 and FS4. Put a compressor up front, boost comp or tube comp, I make that FS1, and put a distortion after the compressor, I make that FS2. Put a wah first in the signal chain, make sure it's set to EXP1/2 for control and toggle/on/off. Audition each effect one at a time, tweak the levels and settings - most of the default settings are good, but they will all require some amount of adjustment. When you have each FX block sounding good, levels balanced, on or off, no radical volume or tone shifts, try turning on all the FX blocks. Make sure doing that doesn't squash your sound or triple your volume. Save that patch. Then save-as into the other patch blocks in that bank. Go to the newly saved copies of your patch (or do all of this with HD edit) and for each one, select a different amp model. Try the tweed, the blackface, the Marshall Park, the SLO - whatever you like. Repeat that first part, where you adjust the amp settings so each patch is approximately volume leveled, and adjust so that you can select patch A,B,C,D - each one with all FX off, but with those four FX assigned as FS1,2,3,4. When you are happier with the sound of each amp model by itself, then mess with the FX settings so that each amp model sounds good with those same four FX blocks. Whenever possible, try to imagine the amp you are using in the model as a 'real' amp somewhere. The DT should sound like that amp. The issue with hearing studio/direct is you are adding multiple variables, and each amp model has different settings, primarily the mic models. Some of the mic defaults sound louder / quieter than others, some will be boomy, some lots of treble, etc. A condensor mic will behave differently than an SM57. A dynamic mic will sound different than a ribbon mic. The reason you go into combo or stack/poweramp mode, is to disengage the mic modelling. That mode allows your HD and DT to focus on replicating that particular amp model and all it's correspsonding nuance, without also simulating the room and microphone. Imagine it like this: In Studio/Direct mode, your amp is in another room, with a mic on it, and you are in the control room, behind glass walls, and the mixer monitor speakers are what you are hearing. Essentially a recording / front of house mix sound. Your amp + A Microphone, in a room. In combo/stack poweramp mode, you are in the room with your amp, and it's next to you. In this mode, the HD and the DT are transforming your DT into a Fender, or a Vox, or a Plexi, etc. The XLR out from the DT is now handling the idea of 'mic' and 'room', whereas what is coming out of your actual speaker is the sound of an amp. The direct signal from the XLR out of the HD500 in this mode will not sound good, the XLR out from the DT will sound good -it's designed to emulate the cab+room+mic. The reason I say 'imagine' this, is by visualizing the difference between a small 1x12 Gibson combo, and a 4x12 Mesa Boogie is massive, in actual volume, and EQ. You want to pretend you are plugged into the amp that the HD+DT is trying to emulate. For what it's worth, try an amp model you like, do the copy to four patch idea - then instead of changing the amp model, just change the cabinet for each of those four patches. Again, somehow the poweramp modes emulate cabinet response, while not emulating microphone response - so that EQ which you tweaked to perfection on one cabinet choice, will sound radically different on another cabinet choice. I've found that the key for me to get a tone I can play music with, rather than just play with the patch editing, is to narrow down my choices to just a few amps and effects, and manipulate patches with these limited selections. Once you are happy / familiar with how those amps and all their options respond, then you can delve deeper into what the HD+DT has to offer. Just randomly switching from amp model to amp model, you will find drastic volume differences, which when taken in the "real world" context of the actual amps which Line6 used to create these models, makes perfect sense. Put a VOX 25watt 1x12 next to a 100watt 4x12 JCM, and yeah, one is going to be way louder than the other! Last, but never least: Have Fun!

I can relate, for sure. There is a certain joy of well crafted analog stomp boxes that digital modelling will never truly replace. I personally love Keeley, and if I ever decide to work up a collection of stomp boxes, would probably want one of everything Robert makes! The Time Machine is an amazing pedal, the 2 and 4 knob compressors are fantastic. In terms of interfacing with the POD gear, I used to try to do more of that, haven't as much recently. I used to do alot of 4CM with my previous X3L, using various stomps in front of the X3, in the FX loop, and in the amp's FX loop. I guess once I went 'all-in' with the JTV, HD500 and the DT25, I've gotten more particular about limiting the number of analog to digital / digital to analog conversions going on in my signal path. I like your idea, you may be on to something - in terms of standalone amp modelling vs standalone FX. The thought crossed my mind, where I envisioned an L6Link type system, that would allow the HD 'amp' processor to 'talk' with an M13 style dedicated FX unit, similar to how the DT + HD link. In this case, the interface would allow the DSP of each unit to focus on rendering it's portion to the maximum quality, while still allowing FX block positioning and pre / post settings on the FX, beyond just the linear sequence involved in placing stomps either before the amp block or in the FX Loop. What kind of pedal board did you end up with? The guy I jam with has the whole collection of stomp boxes going, and he has spent alot of time trying different settings, positions, and variations of stomps before the amp, in the FX loop, and such. What he needs is one of those pedal boards with power conditioning, velcro, and a nice case for it all.

I also bought the cable that radatats mentioned; from Best Tronics. I also bought the Line6 cable that you can get from MusiciansFriend, and such. Comparing them is a no-brainer, go with the BestTronics. Comes with a velcro cable wrap, the exterior material looks/feels exactly as an instrument or XLR cable would, and best part, made in the USA! Here are a couple of photos: https://www.dropbox.com/s/92wx88tqlyqjqpb/20140224_132713.jpg https://www.dropbox.com/s/1pm32yz5ba8lmob/20140224_134533.jpg https://www.dropbox.com/s/27s1jzfv77uj1t9/20140224_134550.jpg https://www.dropbox.com/s/ntyld0eq27xi3hz/20140224_134655.jpg

I have a little update for ya; did a jam with some guys on Saturday after work, and ended up one XLR short, so I was not able to L6Link my HD500 into my DT25. I basically then went with the idea I gave you, for how to wire the X3 into your DT25. I set my HD to 'studio/direct' output mode, and ran a 1/4" out from my HD to the DT25 FX return. And, just to verify, I had an XLR out going from the DT XLR out to my Tascam for recording. All of that worked perfectly, though it's worth noting, that when you plug only into the DT fx return, none of the dials on the DT control anything. Maybe reverb, not sure, but definitely none of the master volume, channel level, etc. The POD master volume drives the overall level, as does the post-amp mixer block. So there ya go! Would be quite interesting for you, to do an A/B recording test. 1.) send XLR recording signal from the X3 to one track of a recording, and 2.) send XLR recording signal from the DT to a second track of a recording. With the X3 (or in my case, the HD) in 'studio direct' mode, it would be interesting to hear if the sound changes; IE, what will the DT do to an already 'ready for recording' mix. Does the DT out do anything when routing from fx return to XLR out, in terms of cab emulation? My gear is in multiple locations at present, so I can't actually try this idea at home, but I would be curious to hear your thoughts on what, if any tonal differences occur between those two versions of the X3 main out vs. the same thing being routed through the DT. In terms of volume, it was plenty loud. I suppose putting the DT into 'low power' mode would probably make it less loud, which could be useful for at home / bedroom volumes as well. Cheers!

Well, I finally have both VDI cables; I bought the "Line6" VDI cable from Musicians Friend and one from Best Tronics. When I ordered the Best Tronics cable, apparently my browser running on Windows XP gave me some issues on my online order. It put the order partially through their system; I got a confirmation email, but the order never actually got placed on their end. I called and Debbie was super nice, and she squared it up ASAP - I called Friday, and the cable arrived today! Anyway, if your browser window crashes or acts up, maybe give them a call if you place an online order; sounds like this issue was on my end of things though. So, cable reviews: -The Line6 cable. Good cable, seems sturfy. It works just fine, I've been using it since it arrived. It's relatively flexible, and at least cable winds properly without a ton of problems. It's got the shielding on both ends, so as an upgrade to using just a regular ethernet cable, this is way more appropriate. But as others have stated, the actual surface of the outside wrap is oddly wrinkled, and is a funky texture, and as such lays a little odd when you are connecting up the JTV to the HD. - Best Tronics. So, in this cable shootout, BestTronics is THE Clear winner, hands down, do not hesitate, buy your VDI cable from them! Also shielded on both ends, but the real comparison point is that the cable wrap exterior of this cable is way, way better than the Line6 cable. This cable is familiar to what you'd expect of an instrument cable, rubberized, even surface, smooth instrument cable feel. It's packaged nicely; comes with a velcro cable wrap already on it, and the consistency / feel of the outside of the cable wrap is FAR superior to the Line6 VDI cable. This feels / looks / lays down like a regular guitar or XLR cable. It is also made here in Illinois, USA, which counts for something these days. It only ended up being a few bucks more than the L6 cable, and now I have the L6 cable as my backup, which is always a good idea with a cable like this. "Hey, anyone got a spare ethernet cord?" is a question no one with our gear ever wants to ask on stage.!! :) Here are some photos, Dropbox links: Best Tronics VDI cable_pic 1 Best Tronics VDI cable_pic 2 Best Tronics VDI cable_pic 3 Best Tronics VDI cable_pic 4

Get a JTV.!.. :) But, in all seriousness, If I am understanding what you want to do; you want the six open strings of your guitar to be the notes "CGCFAD"? That is basically the whole guitar down one step, and the low E string in "drop" c tuning? If that is the correct understanding of what you want to do, you cannot achieve that with any of the FX on the HD500. The closest you would get, would be set the pitch shifter on the HD down one step, then MANUALLY tune the low E string down one more step. However, you CAN *easily* do that using a JTV guitar, with the digital alternate tunings. The reason for this, is the HD500 can shift the 'entire' audio you are sending it, and can differntiate note from note using "smart harmony", but the HD cannot adjust the notes string by string to alternate values. The pitch shifter on the HD would give you "DGCFAD", which is everything down one step. From there, you would physically then detune the low string another step down, from E to D, and the pitch shifter would make that D to a C. The JTV guitars CAN do this, because each string has a dedicated piezo pickup under it, and that is how the JTV accomplishes alternate and open tunings on the fly.

The key is that when the HD is set as the soundcard, all the computer audio is routed out through it, whether it's iTunes, playback from recording, internet audio, etc. As a result, you may end wanting to hear the output from the Valveking while you are playing your actualy parts, vs. through stereo speakers when listening to recording playback.