Hi_Im_Matt

"humming" and "feedback" are bad words to describe that sound. Both of those words refer to rather specific sounds, none of which yours is. Yours just sounds like a poorly built signal chain with some odd effects messing things up - perhaps a reverb or delay. As /u/DunedinDragon said, I'd just start turning off effects one by one. Also check your amp for effects, reverb, etc. If you're using a pre-built effect that came with your device, then don't. Build a new one from scratch to understand better how the effects relate to each other (The prebuilts tend to be pretty awful anyhow). In other words, it doesn't sound like anything *wrong*, it just sounds bad.

Forgot to add - I highly recommend downloading the manual and studying ahead of time. There's a LOT of human interface controls on these, and they aren't all visually obvious. For instance, knobs could also be buttons, things that just look like labels are also buttons ... you really do want to make sure you at least know where all the things to press are :)

A few things that weren't noted: - The expression pedal has a toe switch, so you can do things like switch it from volume to wah. Make sure this works. - Make sure that all of the in's and out's work. You may never use the digital out or the xlr's, but you probably *will* end up using all of the 1/4's at some point, so bring plenty of cables. - Be absolutely positive the USB connection works. Have them connect it to their computer and watch the settings open in the software. Being able to edit on the computer is a *major* feature of these things, and the USB connections are apparently prone to crapping out so be doublesure this is good.

So, I'd appreciate a bit of help from this large community. All I'm asking is that someone add a screamer to a patch, turn up the gain on it all the way, turn your amp up a smidgen and then post back whether they hear a sub-octave being added or not. If you have your equipment setup and turned on it should take all of 30 seconds. Thanks!!

Further update, having replaced the input jack on the transmitter, I went to a gig, set everything up ... and promptly removed the G50. In my case, the cable was bad in addition to the jack, and in hindsight, I'm guessing it was the cable much more so than the jack (because I never had a problem with the cable falling out, despite the jack being cracked). Upon further investigation online and by tearing mine apart, it's evident that these cables just aren't as durable as other cables guitarists are used to. Mine had maybe 3 strands of grounding shielding left, and even the cloth internal sheathing was completely worn in one spot. I would suggest effectively troubleshooting it yourself before taking it in. Plug it into a transmitter, and generate a signal until the audio light comes on (all I had to do to get a signal was to touch the tip of the 1/4'). Then careful wiggle various pieces of the cable - near the 1/4, near the TA, the TA assembly itself (to test the connection to the input jack). That will help narrow down if it's the cable, and where in the cable. Mine was broken near the TA connector, but after tearing it down and inspecting I realized building a new connection to that connector just wasn't happening, so I bought a new cable on Amazon for 15 dollars, free shipping on prime :) At some point I may take all my photos together and build a tutorial, but for now I would say that the cables are absolutely the weakest link, and check yours out carefully. I'm willing to bet all those "drops" and "interference" I've had over the months was actually my cable dying. Once my new one comes and I confirm it works, I'll buy a second, keep it in its original packaging and throw it in the gig bag. I guess the trick is to approach the cables as a consumable, and to not buy anything with a TA4 connection again.

I would try before buying. The latency is surely acceptable coming out of the pedalboard if its acceptable going in, but if you go wireless both in and out you'll be doubling the latency. I would worry abit about potential interference between the two as well (recent RF spectrum changes seem to have more and more devices competing for bandwidth) and would also be interested in the electrical characteristics coming out of the board versus coming out of a guitar. But if you give it a try and it works you should let everyone know !

If anyone else wouldn't mind trying to reproduce this, I would appreciate it. I don't mind the sound and actually plan on keeping it, but it was quite unexpected. It's not a particularly loud suboctave - not like you would hear on an octave fuzz - but it's definitely present on my system. Thanks !

Once you get into it a bit more, you'll find that you can assign that gas pedal to either a wah or a volume (actually, you can assign it to a few effect paramters as well). You can then place the gas pedal and any other effect anywhere you want in the chain.

Hello Russ, Sorry for the delays, I've been woodshedding. You brought up a technical aspect I hadn't thought of - that adjusting the mixer volume affects any post-mixer effects, and that it can even affect the AMP drive. I hadn't come across that, because rather early on I gave up on multiple patches (EXACTLY for the volume reason) and now use it exclusively in "pedalboard" mode like an M13. It seems like meambobbo is helping you, can't wait to read his tips. I imagine that volume disparity is the number one frustration of users, and I a bit disheartened that it hasn't been addressed. I've been buggering with the volume levels of my one (1 ! ) patch all nice as I try new pedals and gain structures. Good luck !

Hi all, Please confirm I'm not going crazy. I added a screamer and set the gain to maximum, and when I play it I quite distinctly hear a sub-octave being added. I have a second screamer in the chain set to lower gain, and I hear it - but lower - in that one as well. There are no octave pedals in my chain. I do have my amp turned up a bit, and I also have a Vetta comp at 73%. I'm playing into the front of the amp, and I only hear the sub being added with the screamer(s), not with anything else. Can anyone else reproduce this ? Is this intentional, and it's just how screamers add drive ? Or is this a glitch or some unintended consequence ? I've never played with a real tube screamer, so I honestly don't know how they're supposed to perform. Thanks, -Matt. Edit: I forgot to mention that this is a POD HD 500 (Not an 'X') runnign the current latest firmware.

Plenty of those...just replaced the front and back of my Nexus.

FR/FR speakers is really kind of a fancy way of saying "speakers that don't change the sound that's going into them that much". Reference monitors should match that description, but there's a good chance the PA doesn't, so tweaking on reference monitors doesn't necessarily equte to what you'll here in the venue. If you're that concerned about the sound, I would suggest buying a very small, inexpensive solid state amp and micing it. It's only slightly less convenient than going direct, but you'll have that much more control over the sound. Even then though, what comes out of the PA will NOT be what comes out of the amp. It may be very close, but it won't be identical. Even if you physically transported all of the equipment between one room and the next, it won't sound the same, because the room affects the overall sound as well. And, if you can believe this- that room *empty* will sound different than that room full of people. Which leads me to my next point... does the music, band, style, venue, PA and audience merit optimizing it for the PA ? If you can get a sound you like well enough at home, are you really uncomfortable taking that sound out ? If you're playing soft acoustic music on a high end guitar in an acoustically engineered room with a great PA and a great sound person, than I would fret it. If you're playing loud rock in the same room I would fret it less - the sound guy or gal will help compensate for the room. If you're playing in a crowded bar, it probably wouldn't matter either way ... just my 2 cents. I play both through amps and direct, and I use the same patches for all. Noone's ever said boo to me, and we draw crowds and big cheers, but we're playing fairly raucous rock and roll where honestly, as long as the tone is in the pocket it doesn't have to be perfect.

Glad to hear that - I was worried it was too much, but as a brand new purchaser I figured you were full of FUD (Fear, Uncertaintly and Doubt) and could use some of the bigger picture. You will probably end up very happy with your POD. You will most certainly end up spending lots of time playing with it ;)

LoL, I actually just did some googling,and found your post from last year with the URL, heck of a coincidence. I'm buying one right now ! http://www.fullcompass.com/product/405558.html <-- This URL is active and correct as of 2014 7/22. Costs 15 bucks plus shipping. I paid the 18 bucks to get it here by Friday, I'd love to have my G50 back in tip-top shape for this weekend's gigs.

I've been gigging my POD for sometime now. At one point I did build individual patches for each song, but I would never build *multiple*patches for each song. I would simply setup a rythm sound - using multiple pedals mapped to one footswitch, and then do the same for lead. Set them all to use the same footswitch, so that stepping on "lead" turns off "rythm" and vice-versa. If I needed additional voicing I would simply add "optional" pedals to that patch. I no longer do any of this now though. It was simply too high maintenance, and frankly very, very OCD.