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Everything posted by chuberto

  1. For my uses, this is really isn't the right way. I'm using my POD into a DT amp, for live use so I'm not trying to produce recorded tones;I need real life guitar amp noise which fits with acoustic drums, bass, guitar and vocals. Therefore my comparison is better with straight amp tones, no post production or mastering.
  2. So, my HD500, Dt25 and 2x12 cab has been spending a little time at home instead of living at the rehearsal studio. Since this, I've inevitably restarted the cycle of : grab guitar turn on amp, wonder why the new harsh, trebly patch sounded any good yesterday adjust it to suit believe I've invented sonic nirvana adjust all my patches to suit It's a wonder that I ever play anything at all with all the tweaking I need to do. So anyway, last week was the same. I've been relying on a Treadplate amp as my core rhythm tone but recently I've been wondering why; I came from a proper Marshall and so many of my favourite guitarists use a Marshall and I'm using a Mesa.... I changed to the JCM800 Preamp but with Topology IV and thought that the it sounded so amazing that I would soon be awash with heavenly women vying for my affection. Alas, the very next day it sounded gastly. A few nights later, as I perused Youtube listening to clips of amazing sounding Marshalls (including the one I used to own) and a thought struck me. Sell the Line 6 stuff and buy a Marshall! Yes! What was I waiting for? Oh, yes. The size, weight and return to tap dancing to swap between effects laden tones. So yesterday I took another option. My amp lives upstairs in the spare room, where I don't have a hifi. Except I do have a FRFR monitor cab that I've used for acoustic tones from my Variax. Plug in the laptop to it and revisit all those videos on my internet history (no, not those ones!) And here we have it. Line 6's HD500 & Dt25's version of a JCM800 compared to a real Marshall JCM800, 2550 Silver Jubilee, 6100 30th Anniversary and AFD100. I'd chosen well recorded videos, no crappy webcam mics but nothing with any noticeable post production. First of all, there was an remarkable similarity between my tone and all those from the internet. Definitely a Marshally character. Each video had a slightly different tone but one that I was able to approximate with little more than a twist of a couple of knobs. The first video made my tone sound too trebly, the last was the opposite. I guess it shows how much our ears fatigue and how tones in isolation may not be exactly what we're looking for. I did learn exactly what goes on between the two presence controls when using dual amp patches (I run dual path patches, never both on at once but to simulate a 2 channel amp) which had previously been some voodoo mystery... I even managed to get some playing in today without tweaking much at all! Nothing ground breaking in this post but I felt the need to share my experience. I think there's something very counter productive about being able to scroll through multiple amps on the POD, because straight away you're going to change the settings anyway. So how can you compare two amps until you dial them in? I once watched a speaker comparison video by Rivera Amps and it was the same. I might prefer one with those bass/mid/tre/gain settings but what about when you've changed them? Still, my rig sounds great and is a doddle to use live. Happy days!
  3. To the OP, Bjnette speaks the truth. With the 4CM, you need to set one of the FX blocks on the POD as a FX Send. Without doing so, you're simply plugging the guitar to the POD and the output of the POD to the H&K effects return. None of the preamp controls will do a thing. Think of the FX Send block on the POD as the H&K preamp. You (in theory as there are no rules) want wah, overdrives & distortions first, then the FX Send, followed by modulations, delay and reverb. The final POD output goes to the H&K Effects Return and straight to its Master Volume knob. To PastorJohnLedger - with a DT amp, forget all about 4CM. The L6 Link is designed to achieve the same thing and to do so much more. The only thing you'd gain would be some CPU saving. I used to use the 4CM on my old amp, since owning a DT I've never used anything but the L6 Link. The amp models on the DT are also in the POD. 1 is one of the Fenders, 2 is the Park, 3 is the Vox and 4 is the Treadplate.
  4. When new, they take a fair bit of pressure to activate. I still really struggle to activate mine when seated.
  5. If you don't have a Variax guitar, none of the Variax settings in the POD or EDIT will do a thing.
  6. Why do you need to use the POD with the mic if you already have an interface it works with?
  7. I bought a Fender Bassman and I'm disgusted that Fender never send me out new parts every now and then.
  8. What's the amp that you're deactivating bypass volume set at? If set at anything over zero, you'll be getting clean guitar in parallel to your other amp block.
  9. Yeah Line 6, listen to what we have to say and add this function! Also add a function to make me coffee! FYI I bought a Morpheus DropTune pedal which does exactly this. I sold it because it didn't work as I wanted it to. In fact, the HD500 does do it, just not perfectly, just like the Morpheus. The cheap answer? Use the pitch glide, set to 100% mix a semitone down and put up with the artefacts. The best answer, use it as an excuse to buy more guitars!!
  10. I take it you are going Guitar - guitar cable - HD500 guitar in - L6 Link - XLR cable - DT L6 Link Input?
  11. There's loads of relevant stuff on here about inputs, mixer settings and all that deep stuff but there is one thing that got me where I wanted to be with tone and that is to program the patches at the volume they will be used at. That's not easy to be able to do! I managed to set up my gear in a different room when my neighbours and family were out, used the looper for some riffs and cranked it up to unacceptably loud levels and tweaked away. I was surprised by some of my amp choices in the end. My basic tones ended up as Bassman with matching cab for clean , Treadplate with Blackback 30s for crunch and SLO with Greenbacks for lead. I used a graphic EQ block with a mild 'smile' setting on all to get it right. They became my basic tones; the rest of the effects can be added and modified at various volumes without such issue. Strangely they don't sound bad at all when turned down!
  12. I'm agreeing with the others here. If your own mixer is an integral part of your tone, then you'll need to take it with you everytime. This is the fundamental thorn in the side of all guitar systems like the POD, Axe-Fx, GT100 etc. Everything they plug into will shape the tone, you'll create your patches in combination with this tone shaping and if you take that component away, you're likely to suffer substandard tone. It's the main reason I went down the DT Amp route as I wanted that consistency.
  13. This stuff is always difficult to diagnose over the internet but there is one thing that I discovered with my HD500. You can't just switch the output mode and expect that great tone you've dialled in to still sound great. I've used my HD500 in just about every way, front of amp, 4CM, FX return, direct, headphones and now L6 Link to DT amp and I've managed to coax great tones from every method but not one of the patches I created transfers at all well. Create a great patch on headphones at home, run straight to the desk at band practice and it's horrid; and headphone vs DT amp is completely unusable. In fact, the amp models I use to my DT25 are usually completely different to those when going direct, let alone the EQ blocks.
  14. Digital Igloo's post maybe a little misleading. When he says 'most users will get an extra block or two', it doesn't mean that there are extra effects blocks available on the HD500X. Both have the same number but with the HD500 you may run out of processing power and won't be able to use all of the free blocks, if you get a little carried away. I have the HD500 but as I also use a DT25 amp I do use my processor a little more efficiently. I still run into the limits when programming dual amp patches with DSP heavy effects (such as spring reverb or tape delay) but I really wouldn't worry about it. I use dual amp patches live so that I can emulate a two channel amp, with seamless switching and effects tails (as in the repeats of the delay carry over when switching from crunch to lead). In that live situation, with a ham-fisted drummer, bass player and second guitarist, who will hear the difference in my reverb? Nope, no one.
  15. Thank you for the fast response, I guess the floor option is the only real way for me. Now, G30 or 50..... ;0)
  16. Hi, I'm looking at going cable free shortly and have some very specific requirements. Firstly, I'm the lead singer in the band but also play guitar. Therefore, I'm not wandering around the stage a great deal but I just have a dislike for being tethered to my HD500. Secondly, I run a wireless IEM system from a small rack beside my amp, which connects everything by a custom cable snake to my HD500 & Mic. I would mount the L6 Relay receiver into my rack, I have a shelf inside it which could accommodate it or it could be properly mounted via the rack mount kit. Thirdly, the other guitarist has a G30. As I don't need the long range of the more expensive systems, I'm tempted by the G30 that can be bought for £130. Would that suffice? Would it work within my rack (metal framed with plastic polycarbonate sides/top)? Would I be better with the G55 with external aerials if inside a rack? How often would I have to change channels? It would be much easier to change on a front facing G55 than a shelf mounted G30/G50. The price of a G55 + rack kit is closer to £340 so if I have to spend that much more, I'd want to be sure it was necessary. Finally, using the G30 from the floor beside my HD500 isn't something I want to do and using the guitarist's G30 to try out in the rack isn't really an option.
  17. Just out of interest, what is anyone's rationale for upgrading from the 500 to the X? I have the 500 running into a Dt25 (which obviously means I make some CPU saving by using the pre only models) but most of my patches are dual amp models (to emulate twin channel amps), often with spring reverb, wah, modulation and delay. I can't think of many times where I've run out of CPU on a sensible patch. If my 500 went wrong, of course I'd be looking at a X but I can't see much point to change otherwise.
  18. Yes, it works as described. The only issue I discovered is the lag during patch changes which applies to both inputs ie the vocals will drop out whilst changing guitar sound.
  19. They're not the same as 'a preamp'. You need to think about a guitar amplifier in its true nature, which is a combination of sections. You plug your guitar cable into the input jack. That feeds to the preamp which consists of gain, treble, bass, mid and channel volume. That then feeds to the effects loop send, returning to the power amp which is controlled by the master volume and makes everything loud. The HD500 is simply separating those two sections, both of which make a huge sonic impact. If you were to plug the POD into your effects return on a guitar amp, the amp is already producing the sonic effects of a guitar power amp. Therefore you may not want to use the full models on the POD which emulate pre and power amp sections. Using a 'pre' only model in the POD you're effectively turning off the power amp emulation. If you were to plug into headphones, a PA or similar, you'd probably want that power amp emulation as it's key to a great amp sound so you'd use a full amp model,
  20. With the 4CM, depending on you patch you're either going - 1. Guitar, POD effects, amp preamp, POD effects, amp power amp, speaker Or, 2. Guitar, POD effects, amp power amp, speaker. So, with 1 you're going to the amp front and rear. With 2 you're going just to the amp rear. I have always stuck with either the combo/stack front or combo/stack power amp settings. As you have a combo, I'd start with combo front but also try combo power amp. Definitely not studio mode because no matter what, you're going through a guitar power amp and guitar speaker which is what studio/direct is designed to emulate.
  21. Regarding being able to hear yourself, there are two fundamental points here. Firstly, where is your speaker pointing? Secondly, how much mid focus do you have in your tone? I went from being continually asked to turn it down, bordering on angrily so to being asked to turn it up just by moving on to amp/speaker stands. And that great isolated guitar tone often gets lost in a full band situation, hence why you need to shape your tone with a full band in mind.
  22. Definitely don't want a touch screen on my pedalboard thanks! But the rest is pretty good!
  23. I don't use it right now because my needs are for playing rhythm in my current band into my Dt25. I have used it before for using vocal effects simultaneously with guitar. It worked well enough but I got too stressed controlling my own vocal effects from stage without any quick control if it started to go wrong (I was also using a little overdrive/megaphone effects which easily lead to feedback). I've also used it to mic a cajon, feeding it through the looper for an acoustic duo. That was particularly fun and worked exactly as I hoped.
  24. Have you tried putting a volume pedal into both Channel A & Channel B? Then set each to be turned on/off alternately by the same footswitch (not the expression pedal toeswitch) and set the maximum value to zero. Then pan each channel in the mixer hard left and right. That way, when you press the relevant footswitch one channel mutes whilst the other switches on. From my tests, the volume pedal doesn't use any (negligible at most) CPU but obviously will take up two FX blocks.
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