still_fiddlin

There is a learning curve, no doubt, and that's going to take some playing time away, but for me, there was no other option. And I do like it now that I've got everything set. Very little tweaking. Plus I've got the 400 so just not as much infinite complexity as the 500 - one of the reasons I got it and haven't been moved to upgrade. (I'm 60+ and still working long hours. I don't have but a few hours a week for this hobby!) P.S. Thought I'd post a couple *live* recordings made just recently (last Sunday and a couple before that). No exciting guitar work - sorry, it's my hobby, but it's fun to try and get the mix in the Aviom right so it works for monitoring live, but still all comes together, sort of, later. Sovereign (R channel, swells and electric) More Than Amazing (R channel, electric)

Seriously, looks like someone attacked it with a screwdriver or something. Very broken. Here's an unbroken type B port (mine is actually black in color on my HD, but you see the difference).

Ok, a simple Y is generally frowned on; as in, don't do that. If you want to use a Y, do it like this: http://www.rane.com/note109.html That's why I use the unbalanced L/Mono out to a DI...

Phase cancellation has nothing to so with cable quality or advertising hype. You have to listen to the stereo and mono and decide if it's happening. If your patches are mono, just pick one of the XLR outs. You shouldn't have a phase problem, and summing is not necessary, and may create an issue that wouldn't happen otherwise. Just record the two options throug an interface to convince yourself.

no. I'm saying that should not happen.

I don't know what "overridden" means. They are separate signal paths; at least, they better be, or plugging a 1/4" into the L/Mono output would effectively turn the XLR into Mono as well. Louder, well, maybe a little, but it's not something that should upset the PA input setting - maybe a gain tweak, at worst. Honestly, I would worry more about phase weirdness if you've got any true stereo stuff going on; but you'd have to listen, and chances are it would be doing the same thing on the line out side. (Another reason I settled on the L/Mono + DI solution - just assume their mono sum is better than me twisting wires together - at least it's been tested, presumably!)

1 extra thing to carry, but simple solution is a Y. But, I use a DI off of L/Mono output, and use the parallel In/Out 1/4" to feed the monitor. Since I'm forced carrying 1 extra piece, at least that way I know that what's in the monitor is exactly what is going to the PA, save that it's been through the DI. (The Y cable was what I used before, with, I suppose,t the same result, but I'm satisfied with the DI solution. Just another nit that annoys me about these HD products for live use. How about a switch for summing XLR in the HD, Line6??)

Choose 24 bit when you can, unless space is at a premium. According to my HD400's Advanced User Guide, as far as I can read it, the Line 6 sampling rate can only be changed if your app is not using the ASIO driver to connect. I haven't tested this, but here's how to modify the settings on Win7: 1. Launch the "Sound" app in Control Panel. (Or, find the Line 6 MIDI settings app in Control Panel, and launch it from there, but not necessary.) 2. Select the POD HD device in the Recording tab, and click the Properties button 3. Select the Advanced tab in the properties, and "select the sample rate and bit depth ..." Note, this says "when running in shared mode" so refer to the fuzzy wording in the Advanced User Guide for clarification!

Well, sorry to have discouraged you! Like others, I've been confounded with how to work with the volunteer & non-professional sound folks in this situation. Another way to look at this is that it's also hard for them, because they can't know what it's *supposed* to sound like, since there's nothing for them to audibly hear when you are playing. For all they know, it's supposed to sound like fizz, or whatever. And, likely they are not listening to the monitor mix when it's going back through a submix, i.e., you don't have a dedicated person working the stage monitor mix So, ultimately, even with a mic'd amp, the sound in the house may not be what you are hearing. But, in that situation, both you and the sound folks have something to listen to be compare the house against. So, if you can use an amp, all of this (POD HD direct) gets a lot easier if you have the ability to use a small power amp on stage as a monitor, and split the signal that you're sending there. For me, the problems have all been due to the mismatch between how I expect it to sound, and what I actually hear in the IEMs once they're screwed in, because there's nothing else for me to listen to. With all that, we have Avioms, and with my constant whining, I've managed to get the house sound fairly consistent, but the monitor mix still can be random, due to changing folks behind the desk. Even with the ability to recall scenes on the Yamaha mixer, I can't rely on them using them, so the gain on my channel (which might have been used for something else in a different service, or maybe everything was reset due to a t-storm power cycle/surge) is subject to change. So, I've actually switched to using a digital recorder/mixer to monitor myself. I take my Aviom feed, and remove myself from that mix, then take the L/MONO out for the house and my digital recorder. Almost the best of both worlds, save the 2 extra minutes of setup time to run 2 more cables and set recorder levels. But, at least now I know that what I hear in my ears is exactly what's going to the board.

I asked this question a while back and the answer was that any analog input is going to go out with the guitar signal, IIRC.

What the others said. While on your quest, you might give the Park a go. I tried the Marshall, but it didn't stick for me like the Park has.

Interesting. Why does my POD HD 400 show the Line 6 driver in Device Manager? I cannot find another ASIO driver in the Windows\INF directory. So, installing Audacity installed this ASIO4ALL driver at the same time? These are the only drivers I can find with "ASIO" in their INF file: ASIO POD HD400 - 09/07/2010,4.1.1.7 ASIO POD HD400 - 04/28/2011,4.2.4.4 ASIO POD HD400 - 06/21/2011,4.2.4.9 ASIO POD HD400 - 06/05/2012,4.2.5.7 I didn't see another audio device active at the time Audacity was recording from the POD, BTW. (Image in the HD 300 problem thread.) I'll be happy to remove ASIO4ALL and try again, if you can direct me to it. In the meantime, I'll go see how this works on OSX...

Just looked at some of the videos - lots of different sounds there! But, besides being able to play acoustic guitar pretty darn well, I'd start with a humbucker guitar (at least in the bridge position), and one of the high-gain, amp models. Some delay, some modulation in places. Patches are funny things. It depends a *lot* on the ears of the person listening whether they are close or not, and perhaps more on where the POD output is going, i.e., to a power amp, direct to a PA, into a recording, etc. The patch for each of those situations is likely to be different. Anyway, pick *a* song and specific part, maybe someone can set you on the track where you'll find what you are looking for. Good band, BTW!

Check that your POD HD 300 shows up in Windows Device Manager with the correct driver and is not disabled. Here's what my 400 looks like on my Win7 system. P.S. If Cubase sees it, try to close Cubase and reboot, to make sure nothing has exclusive access to the device, preventing the editor from opening it. A device in Windows is a lot like a file, and if one application opens it "exclusively," another will not be able to use it.

Most DAW software allows you to specify the inputs and outputs as different devices. For instance, on Audacity, I can set my input to my HD 400, and the output to my audio interface. Now, I cannot *monitor* the recording with the interface (well, I could probably get a feed back, but there'd be latency), but when I play the recorded track back, it goes to the interface and out to the powered monitors. This doesn't work well for recording multiple tracks. Then, you'll want to specify the POD as the output device so you can hear the previous tracks while recording a new one. But even then, it's just a "preferences" setting in your DAW, and not cable switching or anything, unless I'm missing your point (always possible).

Well, I have a soft Gator case, but it doesn't have a big enough side pocket for everything, and in particular, not big enough for charts. But, I just spent some quality time with my Dymo labeler and have labels on there that should last another year, anyway. I sometimes get barely 5 minutes to carry in and get everything set up and sound checked. My eyes aren't perfect anymore, and my knees less so. No labels left on the POD mean I can't have any spare church kid plug me up, so I'm spending time (on *my* knees) messing around with this thing instead of tuning and making sure it's not having one of its "let's cycle opto-trem in and out randomly" days, or whatever else might mean zero time to even tune before it's off to the races. Sunday was one of those days, and so this pissed me off. Now, is this a "good" reason to not buy a new HD 500X? Probably not, but it annoys me that they don't just put something more "road-worthy" in such an exposed place. So, I say, spend another 25 cents, Line 6, and use better paint. And if they don't, hey, it's my money.

Well, maybe I could have treated it with kid gloves, but really, at worst case, it's about 200 trips, *in a case*. This is not abuse. If it was, I'd probably have had to replace it by now! I think it should hold up better than it has - that's all I'm saying.

I've not got a 500, but been playing direct with a 400 for over 2 years, so have some thoughts. Take it for what it's worth.... 1. The sound in the house is not within your control - the only thing you can control is what you send to the house. 2. The sound you hear from the POD phones out is not what you are sending to the house. Don't kid yourself. Practice with it; have fun with it; but don't rely on it to make your patches, until you understand how different it is. 3. Even the sound you send to the house is not the same as what the house hears - again, this is beyond your control - depends on the house mixer, amps, speakers, and above all, the techs. Explain to the techs that the unmodified signal you sending to the board is what you want to have coming out of the house PA. BUT, make sure that sound is what you really want by investing in a small (even cheap) mixer at home to monitor the same output that is going into the snake back to the board. (Even a sub $50 Behringer is fine for this.) If you have on stage monitors or even IEMs with a personal mixer, beware of coloration and distortion that can be introduced in taking your full emulation back through a signal path that may not be really ready for that. Learn to use your ears, whether you start with patches you download, the presets that came with your POD, or something you make up. There are a *lot* of ways to get a great sound out of these devices, but you have to spend some time learning how to listen. (I'm still doing that.)

Not sure what you are trying to do, but if you need to send most of your sound to the house, go to the PA. I actually take the 1/4" MONO out and patch right into a (Radial) DI for that. If you want to have an on-stage monitor, take the parallel input that's going into the Radial (or DI of your choice) and run that to a powered monitor, DT-25, whatever, for your personal listening enjoyment.

This is why I won't be buying an HD 500X anytime soon. (Yes, it only says "HONES", too.) This is about 2 1/2 years of once per week toting back and forth to church in a case. What's rubbing against it? A MANILLA FOLDER, for cryin' out loud! Note that the plastic over the LCD window hasn't rubbed off... A little more time spent on making these things roadworthy would be appreciated. Fortunately, I can still remember what the jacks on the back are for, but in another year or 2, probably not...