ColonelForbin

This actually explains it pretty well, in a far more succinct manner - regarding how the analog switches are controlled by the POD, and what types of power amp switching is available. I didn't realize there was a feature on the DT50, that is not offered on the DT25 for instance : http://line6.com/dtv2update/ Variable 12AX7 Boost (DT50 only) You can now set the 12AX7 boost per amp model. In earlier DT50 firmware versions, some amps were boosted, some were not—now you have the option to set each one however you like. As far as MIDI goes, this is probably a good place to look: DT25 [MIDI]: http://line6.com/media/dt50/DT25_MIDI_CC_Reference_v2_0_RevA_English.pdf DT50 [MIDI]: http://line6.com/media/dt50/DT50_MIDI_CC_Reference_v2_0_RevA_English.pdf

They had it marked as $1,500, but that was for the new ones' they had in the back, still in boxes. The gash on this one was so bad, I just couldn't go for it. There was literally a chunk of the clear coat missing, approx the size of a nickel or larger. It looked like you could almost slice your arm open on it, and it was right in the center middle of the face, on a Cherry Sunburst. Looks like a guitar hanging on the rack next to it smashed into it or something.

WOW!! Now that's a happy price... Dang, definitely worth getting it for that much less.

I occurred to me when reading another post posing a similar variation of this question, that the HD models exclude the Preamp models which were offered in the X3. An ideal solution would be to have HD models of those preamps, which would engage the L6Link > Dt25/50 in much the same way as the current rig is designed, except for perhaps forcing a 'Studio/Direct' type mode when using Variax acoustic models in tandem with (the currently does not exist) selection of HD preamps. IE, these, but for the HD500 / DT series: POD X3 Amp Models based on*: L6 Piezacoustic 2 L6 Tube Instrument Preamp POD X3 Vintage and Modern Preamp Models based on*: API® 512c with API® 550b EQ Neve 1073 Avalon Vt737 Requisite Y7 L6 Solid State Console L6 Lo-Fi

For the DT25/50 users out there, who have their JTV>HD500>DT25/50, is there a way to set up patches using no amp model? I realize this runs counter intuitive to the manner in which the L6Link is supposed to work, just wondering if there is a workaround that will maintain the single chain of signal, but allow the user to go from "electric" Variax models using elec guitar models and HD500+DT25/50 amp models, to then using the Variax acoustic and eclectic models, in the same signal path and any FX from the HD500 into the DT, but bypassing the PRE amp models, and going straight into the power amp stage? I guess it's worth a try! I recall they used to have some preamp options, from pre-HD era in the X3, like these listed below - an ideal option would be to have some of these choices in the HD realm, and use them as "PRE" models in much the same way the HD amp PRE models are currently used, but these would be better for Variax acoustic tones. However, I don't see that happening any time soon.. POD X3 Vintage and Modern Preamp Models based on*: API® 512c with API® 550b EQ Neve 1073 Avalon Vt737 Requisite Y7 L6 Solid State Console L6 Lo-Fi POD X3 Amp Models based on*: L6 Piezacoustic 2 L6 Tube Instrument Preamp

The key seems to be build your HD500 patches for use with DT25/50 via Link by choosing the "PRE" models of the amps you like. Within the patch on the HD500, you should be able to dial in identical versions of the "PRE" model embedded in the DT. From what I have read, the recent firmware update to the DT adds all the HD500 models into the DT, so in theory you can access them all from either place. The key would be: 1.) use PRE amp versions so there is no cabinet, mic, or power amp modelling occuring in the digital realm. The PRE versions are tone stack only, and they feed before the power amp versions. 2.) make sure any setting options are also matched. If you patch specifies PENTODE, but the amp only setting was TRIODE, that will sound different. Also dig into the deeper HD500 settings, concerning typology, sag, class A, A/B, etc. None of those things should be modeled, they should all be occuring as a result of the analog (Bogner) portion of the amp's processing, in order to 'match' the sounds. You may also need to look at the variations in channel level, master level, etc. It's worth noting, that despite these choices being controlled by the HD500 via the patch building, the actual tone is being generated by the Bogner portion of the DT, as controlled by the Line6 brain. Frankenstein : It's Alive! :)

The subtle specifics of how the DT25/50 and the HD500 communicate make this connection different from any other amp you can plug into. When L6Linked, the HD500 triggers analog switch, relay and power configuration changes within the Bogner portion of the DT25/50. As far as the actual amp modelling goes, when linked, you are using modeled "preamp" portions of the tone stacks and drives, prior to the tube and power stages. So, any patch that you have on the HD500 which changes typology (which can be specified in your patch editing using the HD500 software) should let you control most of the variations you are asking about - if I understand your question properly. IE, you can tell the amp to switch from pentode to triode using patch changes on the HD500, and it's not modeling those characteristics anymore, it's actually (in the analog realm of the amp) switching power configurations. Same for the class A to A/B, and the other power amp related choices. There are some sag settings in the HD500 edit, which I believe also control internal, physical relays in the DT portion of things.

Getting closer. Emailed Zzounds to see what they have, since the local GC store says they would have to order it anyway, nothing kept in stock. Anyone have or use either of these? $190, Gator G112A, for 1x12 combo: [with extendable handle, with wheels] Shipping Weight: 31 lbs "Gator's Semi-hard technology, the case is 600-denier ballistic material on the exterior with a 1/2 in. wooden interior frame covered in 20mm foam with Tricro interior to protect the amp." http://www.zzounds.com/item--GATG112A http://www.musiciansfriend.com/accessories/gator-g-112a-rolling-amp-transporter-and-stand $105, Gator G112ROTO, for 1x12 combo: [with wheels] Shipping Weight: 14 lbs "constructed of a indestructible roto mold design and made to fit most standard 1x12 guitar combo amplifiers." *(no internal padding) http://www.zzounds.com/item--GATG112ROTO http://www.musiciansfriend.com/accessories/gator-roto-mold-amp-case-for-1x12-amps $258.81, SKB 1x12 One of the reviewers says their DT25 fits in this, but they think it would also hold much larger amps. http://www.musiciansfriend.com/accessories/skb-1x12-amplifier-utility-vehicle#productDetail

For example, this looks awesome, and it's totally overkill - does anyone have a Gator case, or SKB or something comparable? http://www.ebay.com/itm/ATA-Kent-Custom-Flight-Lift-Off-Case-Line-6-DT25-112-1x12-Combo-Amp-HEAVY-DUTY-/321022833796 This is closer, it's a Gator case: http://www.musiciansfriend.com/accessories/gator-roto-mold-amp-case-for-1x12-amps This one is obscenely overpriced from the looks of it.. http://www.guitarcenter.com/SKB-1x12-Amplifier-Utility-Vehicle-109272971-i1400057.gc

We are going back to jam on Saturday! I am stoked for round two, and our drummer will be there this time. - One question: Is there a way to have the DT25 in standby, and still be sending audio out of the XLR DI out? I thought there was, just wasn't sure if it had to be in the low volume mode to do this? From what I could tell, having the DT25 in regular mode, in standby, muted the XLR direct out off the DT25. I think I will do a test of the output options, going out of the DT25 into the mixer / PA at the next jam tomorrow. Try sending that direct signal around to the other guys monitors, see what their ears hear across the room. There is also a powered full range floor monitor that I want to send a direct feed from the DT into, and see how that sounds. I did record last night, with a Tascam DR-40, does 24bit/96k, and records a pair of .wav files for each session - one of the onboard mics, one of the line inputs. I'd like to compare 'room' and close/cabinet mics with the direct feed from the DT. Signal levels are low, but usable. I might do something similar at this jam - I mic'd the other guitarists amp, and recorded my DT25 XLR direct, panned those hard left and right. In second .wav file I positioned the Tascam "room" mics to pick up a stereo blend of our two amps. I may try to do that same basic rig, except point the onboard mics at the drummer. Would probably then keep the other guitarists' amp mic'd and run my DT direct. For a test, I may also mic the DT25, and run it direct for A/B comparison. Overall, the 1x12 sounds killer! Punchy, tight, and creamy. Nice sustain, handles wah and 'over the top' wild stuff without a hitch.

Here's what anyone who is using an HD500 + DT25 needs to know: Be prepared to ROCK! :) No, in all seriousness, thank you all for the awesome responses!! I got to plug 'er in last night, and picked up an amp stand before rehearsal. This little baby is perfect for rehearsal / gig levels, it absolutely holds it's own with the other guitarist cranked up through a Fender tweed / blues deluxe 40watt. As far as patches, I had loaded everything on my HD500 that I could find on Customtone that would be preset friendly to the DT, and after about two minutes, jumped to blank patches, and set up a few very basic tones - noise gate first, then wah. Comp FS1, Distortion FS2, Reverb FS3, and Delay FS4. Within that framework, I just saved into a few banks, and tried switching around the amp choices, using the 'PRE' versions of a few amps I knew I would be comfortable with - JCM800, Plexi, JM45, DIvided, etc. It's gonna take some serious digging in to dial in some of the Fender / Vox models, but overall, I was *REALLY* pleased with using the guitar>HD500>L6Link>DT25. It's a nice touch to be able to get a patch mostly there, then be able to just tweak a dial on the DT25 to adjust a little of this or that. Some of the amp models are blasting loud right out of the gate, and others take a little coaxing. Working the channel volume, the DT master volume, and the HD500 master volume, you can dial in the right amount of clean headroom vs. grit, and get the speaker volume where it needs to be. In particular, the wahs sounded stellar thru the DT25, and it does a nice punchy thing when you stack compressor boost, drive, and channel drive together. It always sounded good doing that with just the HD500, but something about how the DT25 handles the crunch, and the tones makes me very pleased. You can really get alot more touch sensitive tone using the tone stacks and volume on the guitar, where your fine tuning is at your fingertips, your rough edits on the amp, and the deep edits on the POD. Very encouraged by finally pairing my HD500 (which I've had since 2010) with this amp.. I used to prefer the 'full range' approach to using Studio/Direct output modes, since i was always running the HD500 into the FX return of a few solid state amps. With the DT25, you get the proper amp tone / volume / vibe, and letting the DT25 handle the board feed via the XLR out, it's just spot on. Add a mic to the front of the combo, and your soundguy has all the options he needs to make you sound great.

I thought I had seen some threads about what people are using as a hard case for the DT25, but I can't seem to track the info down! I am just looking for something decent and sturdy, mostly for car travel and keeping it safe when it's stored in our shared rehearsal space. Doesn't need to be a flight case, just better than an amp 'cover'. Something with some internal foam padding, and latches, etc. Wheels not required. Just got to test drive my new DT25 last night, and it's a great amp for my HD500! Time to keep 'er safe Oh yeah, forgot to specify in the post title, it's for the 1x12 combo. Thanks!

Well, this will be a short post - Guitar Center has a cherry sunburst JTV59, but they have no battery available! So, all I can comment on is using it like a regular guitar. Sigh. Oh, Guitar Center, what's up with that?? Also, the poor guitar had a nasty - very obvious - huge ding in the front face, where it looks like it took a bullet. Scratched and Dented! That being said, I am liking the onboard pickups - plugged it into a DT25 at the store, then got to test my DT25 at rehearsal that night. Lovely amp, it just sings. But I digress... Will need to return to GC with my HD500 and an ethernet cable to actually test drive the JTV. But, as a playable, sweet looking axe, it's really quite good. They also had a JTV69, the strat style, and I personally 100% prefer the JTV59. I have a USA strat at home, and I just prefer the Fender headstock, neck, and vibe - I also didn't like the position of one of the Variax dials on the 69, where on the 59, all four dials are on the face at bottom. 69 they put one of the dials on the face at the top which seemed awkward. As for the guitar and it's playable quality, the strings bend well. The action and neck feel nice, and it has a springy, clutch tone, and you can easily feel like you're playing a Les Paul, with a little less weight. Someone on these forums compared it to a PRS SE (also Korean) and that is an apt comparison, in terms of quality. Though, to put the price point in comparison: the new JTV59 Korean is $1,500; and they had a stunning vintage 1970 Les Paul in the 'special room' for $1,600... Hmmmmm.. Though, what the Variax offers goes beyond just what a Les Paul can offer. Verdict is still out, though I like what I am seeing so far. Definitely concerned with the problems being caused by the new HD 2.0 firmware, though I'd imagine that L6 is deep in the middle of figuring out a revision to that firmware as we speak. This is always the same debate, "I like the old version!" vs. "I like the new version!". Understandable, because no two people are going to want the same tone and use the same amps, fx, etc., so, for me, I suppose it's worth waiting to see what they do to respond to the myriad "new firmware" problems. For that, it does go beyond the simply subjective, as in brass tacks, you have to use a different editing interface to utilize the new models with the software editor. So, for now - G.A.S. has been mitigated; the DT25 is so awesome sounding with my HD500 and strat, that I don't feel the immediate urge to drop $1,500 on a work in progress Variax.. "Yet" being the operative word. :)

Was able to test drive the rig for first time last night. Used my four track Tascam to record, and compare. The tascam does two stereo .wav files, one of the onboard mics, the other a pair of XLR line inputs. Ran XLR out of the DT25 into one of the Tascam line-ins, and dropped a mic in front of the other guitarists amp, to the other line in. (tweed blues 1x12, 40watt.) I had gone to GtrCntr after work before rehearsal, and bought us a pair of amp stands, which really does help the amp project better. Tube amp on the floor just does weird things! Anyhow, then I set up the tascam with the onboard mics set wide, splitting the stereo distance between the two amps. Overall, I am extremely encouraged, and really happy with what I am hearing in the room, as well as in the recording, both of the "room" sound, and also the direct off the DT25. I will need to pop on some headphone, and isolate that DT25 signal, so I can inspect more carefully for any unwanted noise, fizz, or clipping, but on first listen it seems just fine! The Tascam records at 24bit/96k, so the relatively low signal level isn't a problem, since the data is so dense, you can still get plenty of quality out of the files.

I did notice it's a relatively low level signal, though the actual quality of sound is decent. It's almost like it's designed to play nice with a snake or other XLR to mixer interface, so as to never overdrive or clip before it hits a gain stage? IE, if we plug that DT XLR out into] a PA mixer, and add equivalent gain, then also mic the amp, would the gain added to the mic signal be substantially less than the gain added to the DT XLR out? In that regard, does the HD500 or DT25 allow that DI out from the DT to be adjusted in volume at all from the source, other than with master or channel levels being adjusted? IT does sound good, didn't hear any fizz, and the amp held it's own without any problems at more than loud enough volume.

Doing as much research and discussion as I can before I get to test drive my new DT25 with my HD500 this weekend. The other guys in the band know it's going to be a "tone searching" rehearsal and they are stoked to actually be able to hear me! lol :) (Drums + Bass + Tweed 40w, and I was just lost in the mix..) Anyhow, I am hopeful about your responses to this question, though figured it's worth asking! I have always sent XLR out from the HD500 to the PA, and in multiple cases, I was dependent on that signal as my primary audio source for the mains and monitors; (which is rather disconcerting.) So, in a simple as query as possible: What's everyone's experience comparing what you hear coming out of the speaker of your DT25/50, and what does the corresponding XLR output from the back of the DT sound like going to the mains / monitors? It would appear that to properly utilize the L6Link, patches and tone creation needs to use only the "PRE" models of the HD500 amps, therefore I would hazard a guess that the XLR outs from the HD500 should not be used. Basically, does the DT XLR out sound fine going to the PA? THANKS!

Yeah, I am stoked, will get to try it out on Saturday. I updated all the flash and firmware on my POD HD500 last night; loaded those DT friendly patches, replaced all the presets I had previously uploaded, and snagged whatever I could find from CustomTone that looked interesting. I had patches I got used to using, but since I was always using differing amps, speakers, direct to PA, monitors, and whatnot, the tones and volumes were never consistent enough to dig in deep and spend any serious time dialing in my patches. I am hopeful that now with the DT25, I will have a relatively consistent palette to work with!

Someone else kindly compiled these HD500+DT25/50 patches - I just can't figure out how to link to that post (javascript issue on my browser/PC) DT Downloads.zip DT25 30 pre-Amps-leveled.zip

Can't seem to paste the link back to the original discussion these came from, guess I am doing something wrong in terms of how they want weblinks handled. credit due to others for these patches and corresponding setlists! users: "Voodoods" and "radatats" DT Downloads.zip DT25 30 pre-Amps-leveled.zip

Bump! All that stuff aside about this guitar or that room - what is the THOUGHT process for making patches to play with HD500 > L6Link > DT25? Do we need to build patches using only the PRE versions of amp models? Or does something occur with regular patches when you L6Link to the DT25 that bypasses the digital modeling that is being replaced with the DT25 analog / tube stages? I haven't got a single patch on my HD500 that I care about, so would be quite happy to wipe the thing and start from scratch, since I just received my DT25 today.

Having just updated my HD500 with Monkey, and got past the snag of Line6 losing all my history and prior registering of my HD500 (come on. I bought it in 2010! Wha Happened L6????) Anyway, it let me re-register it without hitch, got the newest firmware and flash on there, etc. And getting to my question - went to CustomTone, and there are like, 2 patches that even reference being tailored for the DT25 or DT50. Is this confusion on my end? As I understand, when you L6Link the HD500 to the DT25/DT50, the amp and the modeling dovetail together, letting the analog portions of the amp take over, and replace the digital modeling of the HD500. Am I missing something, in terms of how patches should be created to best utilize this feature? In my mind, there should be 1,000's of patches specific to using the HD500 with the DT series amps. Perhaps this thought process is in error? I will find out on Saturday either way, but if anyone would care to let me know how this went for you, I'd much appreciate the opinions and stories, and/or patches>? THANKS!

Zzounds is the BEST! I gave them the first payment end of last week, it shipped Friday, and my DT25 1x12 arrived today around noon. Seven payments of $125 to go, and I get to play it while I pay for it, and jam this weekend too. Question: What do I need to know about technical specifics in terms of first use, setting up the amp - is it plug and play, or do I need to do anything with the tubes, let it warm up for any extended period of time before first jams, etc.? This is my first tube amp (ever) so I am woefully under informed about how to care for and utilize tube amplification. So pumped though... Dang, it's only Tuesday and I won't be able to play it until Saturday night... :)

Thanks everyone! The DT25 arrives from Zzounds today; will be meandering over to G.C. to try out a JTV59 sometime later in the week.

It's an on stage boozerator with beer and whiskey modelling. Able to blend between ale, stout, amber, lager, pilsner, single malt scotch, irish whiskey, and kentucky bourbon with a single dial! ;) I do wonder, it's tantalizingly minimalist. I can't seem to view a video that was mentioned>? "Oh, the waiting, is the hardest part!" -Tom Petty

My bad, I meant to refer to the latest "flash memory" updates to the HD500