gunpointmetal

EQs in common language should have been a necessity. (is there a bigger period) .

Because some of us are used to using EQs the normal way. My ears tell where I need to look in a frequency spectrum, and its WAAAAY easier when its using the universal EQ language of dB & Hz. I shouldn't have to sweep around to find the right frequency. Also, sometimes, especially when recording, there are EXACT frequencies that you want to cut and boost, which is easier enough to do in a DAW, but if you wanted to save some processor power on your computer, you'ld think you could it with any of the EQs in the POD. "Use your ears" isn't really a workaround, its just what you have to do because L6 screwed up programming the EQs.

Amplifi is a toy....an expensive one, but a practice "toy" much like a Pocket POD or a guitar with a speaker built into it.....

If you want a dry track, put the SPDIF output at the front of your signal chain, then use the L/R outputs into your interface and direct-monitor through that while recording the SPDIF input on a separate track. No USB from the POD in that scenario.

I was told by Line 6 that the EQs in the HD stuff will NEVER be set to actual frequencies. I was told that it is impossible due to the programming, basically, which seems like a big, dumbass oversight. These graphs are helpful! EQ's in % seems like something for Amplifi/Spider level equipment, but no for something you expect people to actually gig with. Everyone says "use your ears"....my ears tell me I need to find 1500 Hz and kill it......so I gotta fiddle around for twenty minutes trying to find it.....

Did you make sure your firmware is updated? There was a much longer delay on the earlier firmware versions. Honestly, compared to Digitech, the HD500 switches at lightning speed...the only one that is faster is Zoom, and the models are not that great on their stuff, BOSS always delay spillover....I change patches at the drop of a hat all the time, but I play in a loud lollipop metal band where a 2ms hiccup would never even be noticed.

Tethering things to specific computer manufacturer's equipment is annoying. I hope to never, ever see the words "iOS only" on anything not made by Apple again. And no more off-device-only patch editing....

I second the "No Mic" option....one of the most-used features of my old BOSS GT-8/10 boards (too bad the amps were terrible compared to the HD-series).

Except...its a MIC preamp model, suggesting that one could put it AFTER a microphone simulation to give the effect of a mic'ing a cab through a vintage board..... but it clips way, way, way to easily in that configuration, and I'm pretty sure it was only stuck in there intended for use with an actual microphone...

It think part of the issue NucleusX may be trying to get at is that a lot of us (myself included) were expecting the HD series to pickup exactly where the previous generations left off, in regards to model packs, recording features, amount of useable effects, etc. And honestly, a lot of the language used was not super accurate (Dynamic DSP doesn't MEAN anything until you have the manual or the product in your hands). I was expecting to get all the I/O for recording that came with the X3/XT in regards to dry/wet recording, multiple input channels, etc....But Digital Igloo does make a point, you (and me, on a few things) have certain wishes to see in this product, but no meeting all of them is not a total failure (although I'd say the DSP limitations and EQ layout are pretty close to a fail) or a bad product.....as much as I don't like it, it makes total sense for them to put proprietary stuff on there to connect to their other gear...just like Apple...buy more licensed dongles, buy more official L6 accessories.....

Whatever changes, no more "dumber down" parameters like the current EQs, and NO iOS requirements!

you should make a recording of this happening, I've played bass (tuned down to a whole octave below standard bass tuning) through my HD500 and have never experienced this. The tuner definitely does not like anything below standard four-string bass E, I have noticed.

This used to drive me nuts. My solution ended up being to tweak my settings sitting on the floor in front of my 4x12 so I was hearing more or less what the soundguys microphone would be hearing. Sometimes it sounds a little "flat" in a dead room out of the cab, but the mic'ed sound is usually better. There's not much you can do to compensate a soundguy with a tin ear, unless you can request someone else or bring your own. I really hate that most of them seem to think they know everything about everything and won't listen to anything. We are an instrumental band and it drives me nuts when I step out front and the whole thing is still mixed around a singer thats not there...... side note: Played a show last weekend with a soundguy who didn't get paid....moderate sound on the first band, we had awesome sound, then he was too drunk/stoned to be bothered to even connect the next four band's DI gear, fell asleep ON THE BOARD during the last band's set...then bitched at them that they "didn't even pull the mics or wrap the cables"....

Thats a tough one, but don't feel bad, it happens to use guys who use power amps and cabs with our PODs, too! My rig is a 4x12 with a power amp and it sounds awesome in our rehearsal space, and venues where at least a little bit of thought was put into the stage layout, room configuration, etc, but some places where there is just a square hall or small boxy places, it sound flat, sterile, feeds back (which never, ever happens in practice, even with my gates off, and I basically face my amp)..I'm thinking about getting a dual 15 band EQ since I'm running stereo and just keeping it set flat unless its one of those occasions like we're talking about, then I can EQ for the room instead of having to futz with each patch.

So previously, there COULD have been a lot more interaction, but it was a choice not to? Either way, your input as of late is much appreciated all around!

1. - C, I have my basic tones for clean, dirty, and FUNK with some various extras on the top row of footswitches 2. - B. see above, haha 3. - D. I have my setlists laid out for live performance into a cab, recording tones, and experimenting tones (basically just where I mess around to see what I like, then save to either my performance or recording setlist), I haven't had a need to overwrite any of the stock presets in any of the setlists, I just don't use them.

no

Just cause you don't "like it" or have no use for doesn't mean that Hendrix/Cream were the beginning and end of guitar tone or reasonable effects chains. Maybe I don't want 4 spring reverbs in a row, but maybe I want a spring and particle stacked with different settings on BOTH sides, or maybe I wanna run two harmonizers with different settings on BOTH SIDES. The whole reason to get a multiFX (aside from the modeling/home recording aspects) is to GET RID of all those cables and individuals pedals to stomp. If I wanna turn on all four of my reverbs on a pedalboard, thats four stomps on, four stomps off...not exactly the same thing. "Back in my day you got a fuzz box, maybe a chorus, a tube amp, and you had to carry it up hill through fifteen feet of snow to the gig AND back."

http://www.winspearpicks.com/productsI wanna try some of these ..... I do A LOT of fast picking, and was using the jazz IIIs forever, but I grabbed a buddy's Big Stubby 3mm one day and wow, thicker pick makes it so much easier to lessen the grip and relax! I like that jam track! Great tone on that. I like that model as a platform for the drives and fuzz.

It is just a theory, sir, until you've got that confirmation from Line 6, and good luck with that. It only took three years of bitching to get an OFFICIAL L6 team member to let me know about the EQ situation...(on a different forum, via PM, go figure). Line 6 doesn't come out and say anything, ever. And when they do, its basically by force. What would be their motivation for telling users that there are products from other companies that work well with their products? Why would they suggest using an external pedal for cab simulations when they are marketing HD amp models (I'm assuming this includes the cabs in the umbrella of amp models). That's like Microsoft suggesting an Apple product as a peripheral to a PC...even if it worked "better" then the PC offering, they're not gonna tell you that!

I never really looked at the samples, honestly, and I've been using free ones to mess around with (God's Cab set, mostly) and those have a much more "speaker" like sound to me. I know the ones in the hacked firmware on the Digitech GSP are super, super short, but they still sound pretty decent. Preferable to whats in the box, at least to me.

Most IR's I've tested with have just as good "feel" response, the biggest problem with that though is that if you don't have a dedicated pedal the latency through the computer can be distracting. DeanDinosaur, I'm pretty sure you would argue with a stop sign if you felt like it had something bad to say about Line 6, and your theory that you're losing more than the Cab parameters is as much speculation as my theory about that being all you lose. To my ear, IMHO, most good IR files sound just as good, and mostly better than the stock cabs. If you need to chain three preamps end to end with four different cab simulations into a 2x18 PA subwoofer to get tone you're after, do it. The OP had an observation/issue about using IR's in his situation, and common knowledge would suggest that there might be some signal chain things to think about before saying the IRs aren't good. If Impulse Response technology was not as good as L6 modeled cabs, why wouldn't the Top of the Line stuff (Fractal/Kemper) use similar modeling, and why would so many Digitech Users use unsupported firmware just for the ability to load user IRs, albeit really short, ones, that still sound better than the original modeled cabs in most instances I've heard?

If you leave a full model, set it to no cabinet, and output the sound to something like the Lodigy you are "losing" the cab DEP parameters/AIR and mic placement adjustments, but you IR file already contains those elements, they are just fixed. That's why people will audition dozens of IRs to find one they like. Some of the better paid-for IRs are actually created with the power section of tube guitar amps, which adds another tonality. I seriously doubt L6 had any intent to make it difficult for people to use IR files with their processors, they just didn't go out of their way to make easy. Like I said before, tone is totally subjective, and whatever it takes to get you to what you want to hear is "right". However, running a cab model into a guitar cab, to me, is a big no-no (especially in Studio Out mode?!?) and I'm not surprised that the OP wasn't able to make it sound good through guitar cabs. Try it in the effects loop right after an amp with no cab on into an FRFR or recording system and see how it sounds......

Huh? The OP has an external IR loading pedal, so what does the HD-series not supporting them have to do with anything? May not be your thing, but there are some amazing tones to be heard from the HD (and X3 on older stuff) with IRs in the context of heavy music from a solo artist by the name of Fortiori on youtube/bandcamp/facebook. I'd link it, but I can't at work for some reason.

I know in my experience putting a cab model into a guitar cab = mud, no harmonics, lots of low end build-up. Like I said, whatever works for you, tone is subjective! I have also heard tons, and tons of high gain guitar recordings with IR's instead of stock cabs using the HD and very few of them sound worse then the stock cabs, most sound exponentially better.