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still_fiddlin's Achievements


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  1. I searched for this just now and see it's an ongoing problem. The M5 seems to be very sensitive to its power supply. Mine works fine with the Line 6 supplied adapter, but a new Snark produces this exact symptom. I was hoping to be able to share the supply between a couple pedals but the M5 is picky. (It does seem to work if I use the Line 6 supply to a couple pedals, but then I need a backup L6 supply - $$.)
  2. I played my HD through a buddy's Bose L1 (basic model) and it sounded terrific. Might not give you the projection you'd want in some venues or if you're in a big band with a drummer, but I'm still waiting to stumble on one of those, used. And an acoustic guitar plugged in to one of those is great. You don't need to set it up with the speakers on a pole, either!
  3. If you want to record your playing, Audacity, already mentioned, can work well, and simply, for what you want to do. In that application, you'll want to set the Preferences so the POD HD is both the input and output device. Then, you monitor with your headphones plugged into the POD HD. Drag and drop the backing track into Audacity, and you can play along with it. Add a new track and click record if you want to save your playing, then export the result as an audio file. On a MacBook you could use GarageBand, and not need to install Audacity, and, of course, you could use any DAW, like Reaper, if you choose. If you change the default system audio device to the POD, and then turn your HD off, any open applications (iTunes, other media players) may or may not automatically get redirected to the default system audio, i.e., laptop speakers or plugged in headphones. That's why I like to use a specific audio/recording app with its preferences set to the POD, vs. changing the system settings. Of course, if you keep it plugged in all the time, it can work fine as your "soundcard," but I don't keep mine set up that way!
  4. Hey cat, just doubling up on the reply I made over at tdpri.com. As you can see from the reply there (from codamedia) and hurghanico's here, the "theme" is pretty consistent. My patch, minus the details, follows that same template of Fender clean, a bit of drive and slapback: BF Deluxe, Boost-Comp, Digital Delay (110ms). The 400 is limited in number of effects so you have to compromise slightly, but between the Drive setting of the amp and use of Boost-Comp (my choice, but others may quibble), it's able to get just enough "grit" in the sound without adding an external OD, at least for me. And, repeating again, you'll find the HD much more usable if you spend some time learning how to create sounds. "Disassembling" the patches is one way to start, e.g., turn effects on/off and listen, turn parameters to min/max and *listen*, etc. My HD400 patch: http://line6.com/customtone/tone/807402/
  5. It depends entirely on the song, but when I used my 400, if there was a lead section that I had to kick it up for, many times I would set a patch that didn't have any OD/distortion on FX1, and then for the lead, I'd add FX1, and that could be a simple boost, if I needed to stay clean, or the OD/distortion effect that you want for the particular song. I'd have that level a bit above the FX1-off level, but primarily use my guitar volume for that last bit of extra oomph. Always have something in reserve; i.e., I wouldn't have my guitar on 10 all the time, especially not on rhythm. If I needed some crunch for rhythm, I'd just pick an amp and dial up the drive and master settings to get that. (However, a lot of times, I'd just turn up my guitar volume for the lead - again, don't play on 10 all the time!) I used the volume/wah pedal on the 400 only actively for ambient swells. Occasionally, where it seemed like I needed to knock down what was going to the house (I used the 400 direct), I might tap it back off 100/full, but it was just a "global" kind of setting. Within a song, I'd rely on the guitar volume, and not use the pedal, but that's just as much because I never played with a volume pedal much, and the knob's right there....
  6. Well, to do the least, you can always "normalize" your audio file which will just raise the levels uniformly. But, in most studio output, and particularly anything destined for CDs/radio play, they apply compression and limiting to push everything up. That will change the relative levels, and at some point it's all the same, but it depends on the style - some music is just produced that way, while other types will do very little of the maximizing. You can be sure that all of it is done to some degree, except possibly some classical recordings, because most listening environments aren't going to let the quietest parts come through without some compression, i.e., the sound will just "go away" in the softer parts when listening in your car. I've taken that .wav file and loaded it into Audacity and did a Normalize effect to 0.0 db - it only clips in one spot near the end, so you could probably fix that by normalizing a bit less, or touching up the volume right at that spot before normalization. (normalized.jpg attachment shows the original and normalized waveforms - just a bit, and I included the clipped portion). I also applied a "Loud Brickwall" preset from iZotope's Ozone5 plug-in, minus the EQ, to show what a pretty maxed out version would look like - this pushes everything to the max and doesn't introduce clipping. Of course, it will sound quite a bit different than the original, but there may be somewhere in between that gets you where you want to be. (maximized.jpg - original and maximized wafeforms) P.S. Audacity only allows 3.0 dB of gain without clipping, so your record level, at least as that .WAV would indicate, is more than high enough for mixing. I applied a slightly less aggressive Ozone5 preset though to see what some middle ground might sound like - MP3 attached. There you can hear the compression and limiting - but the added volume is deceptive so you'd want to normalize to get them closer. The "n" is normalized, while the "m" version is "pseudo-mastered" with a Rock-Indie preset. podtest28m.mp3 podtest28n.mp3
  7. To my ear, a lot of the "thickness" is caused by delay. For the more typical CCM kind of tone I would usually alternate between a patch with an AC-30 model or the Park 75, but I also liked the Fender Deluxe, and a lot of times that will work. Honestly, I never spent the time to try to duplicate a tone exactly - it would have made me crazy :). But really, with the delay and OD/distortion/compression going on, there's a lot of ways to get a tone that works. (If you have a humbucking guitar, and it's got some of those hotter pickups, you might want to keep the volume rolled back on the guitar so you can let the "chime" of the amp come through - much as I love my Gibson LP, it's not the guitar I'd probably pick as an "only" guitar for CCM lead *and* rhythm.)
  8. still_fiddlin

    Solo Boost

    Volume knob/pedal? I'm being serious. Not every time, of course, but with the real amp-like behavior of the HD, I like to keep the volume in reserve and just twist it up a lot of the time when I needed to cut through a bit. I tend to use the OD/compressor/distortion effects more for color, so even when I switch them in, it's not much of a volume change, so having something left in the tank is necessary. Of course, I'm working with a more limited 400 - if I had another channel to kick in at a higher level, I'd probably do that!
  9. You might be in a small group with that T5, but they always looked like nice guitars! Not sure what you mean by "thick, fat, lead tone," exactly, but I have to say it's probably not something that shows up in a lot of CCM. If the AC30 is not working for you, you might take a swing with a Marshall or Park (probably the closest thing to "fat" that I had in my patches), or even a Fender Twin model. If you are going direct, you'll need to rely on the FOH folks to watch for muddiness when those HBs start encroaching on the bass' range or low keys. (Which is a sideways hint that sometimes what sounds fat in a mix isn't that fat at all by itself. Record the full mix to be sure you're getting what you want.)
  10. Nice video! Well, those sure looked like Vox amps so we seem to be zeroing in on that component. As far as production, well, it wasn't recorded in a studio, so it's probably pretty accurate, but there's always the question of channel EQ and overall compression that's been applied to the full mix, even live. Certainly the audio for the video would have been compressed, but you can probably do just fine without worrying about all that right now, at least! And, yes, HB meant humbucker(s). (The sound in the first video is a hotter sound than I'd expect from one of those Tele Deluxe models.) I'd guess that was a PRS in the live vid, and that's more the sound I'd expect from one of those. Quick googling around show they do make some lefty models, but I didn't see any among their lower (Asia produced) line, so lots of $. I think a single coil Strat or Tele bridge is going to be a challenge to get that sound, but there's a lot of options in that 500, and maybe that would just require a different amp or overdrive choice and EQ settings. Take some time and explore, and you'll probably find something there. Good luck!
  11. P.S. Just started running through the presets and there's one called Seven Bells on my 400 that's an AC30 model, "Screamer" and Analog Delay - might get you in the ballpark. The 500 might have the same, though I don't know if it sounds the same! While a great many of the presets on your POD are just "technology statements" there's a lot you can learn from just finding one that's not too far out there, and deconstructing it. Listen to what happens when you click the effect in/out, change an effect to a different type, or change the parameters of effects or amps; Then, eventually, when you hear something recorded, you'll have a better idea where to start. Learn to use the edit software, and before you tinker too much, back up the preset so you can restore it individually, without needing to do a reset on the HD. Then, you can play around all you like, save a preset, and come back the next day for a fresh listen, and if you decide you want to start over, just reload the pack via the edit s/w. You can back up work-in-progress patches while you fine tune. You'll need to be patient, and let your ears relax after an hour or so of trying to tweak something, so you can keep objectivity.
  12. This thread made me look - my 3 year old 400 has a sticker. I bought it brand new.
  13. 400 user here, so I don't have any experience with the 500, but just a few comments as you start down the rabbit hole... You have to first realize that what you hear in a recording has been processed a couple of times past the point where the guitar track was laid down, and only that last thing (i.e., the first step) is what you can accomplish with your HD. How close that gets to what you hear in a recording is a reasonable goal, but it's only a beginning. With all that, and the fact that there's a couple people around here who can excel at picking something accurate for you, I'd say you should just dive in and give it a whirl yourself. That's how you'll learn what the different amps and effects do, and figure out which ones are easiest for you to control. NB: It also depends on your specific guitar and monitoring setup whether a patch recommended by someone else will actually sound anything at all like what you are hoping for! The video shows a glimpse of a Fender Tele Deluxe (dual HB model). I actually had a walnut one like that back in the 70s, and to my ear, that recording doesn't sound a lot like that guitar, but a bit more LP-ish. Of course, again, post-processing, and who knows exactly what effects were used originally, or if the guitar in the vid is the one used to record! But, I'd start with a HB guitar, and then on the POD either something basic like a Fender Deluxe, or maybe an AC-30. Then, play around with tone and then pick an overdrive and delay effect (tube screamer and digital delay w/mod are a couple I grab for a first run these days, light on the mod). I don't have the ear for precise matching, or maybe it's the patience I lack, but I was able to get a reasonable sound with both, even a Bassman works, but you have to play around with a lot of knobs to get the EQ close. And, again, they probably changed some things in the mix; e.g., the EQ on that electric guitar track is probably not what was recorded. Even the delay could have been added afterwards, though less likely, perhaps, back then. Good luck. Let us know how it goes.
  14. You could also try the Dr Z model, though the AC30 will work well. I've used either. (HD400 user here)
  15. It sounds like an audio interface (i.e., like many use for home recording) is more like what you want, where you can monitor from the interface, using its mixing and DAC to drive headphones or any other kind of line out. Either that, or use some DAW software that will allow you to mix inputs from different streams on the computer and route the mix to your DAC. To be honest, I don't know if that's possible, but you can always drop a music file in as a stereo track and select the POD as input, routing output back to the POD or wherever. That's not very convenient for "anytime" kind of usage, though.
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