Indianrock2020

I think the biggest problem with these is people don't learn how to insert them all the way into the ear canal and get a seal. There is some lotion out there made to help with this also. No seal, no bottom and it will be thin and unpleasant. Basically they go in like foam ear plugs you'd use to run a chain saw. I have some 6-year-old Shure Ec2 ear buds that I paid $75 for and they have great tone and bottom. Not even sure what their driver setup is. Screw them in !!

In testing a patch with two studio EQ effects at the end, I see its easy to get into distortion quickly. I'm running into an Alto Professional TS112A 12-Inch Active 2-Way PA Loudspeaker So doubt I'm overloading its input.

Thanks for the "compassion" DunedIn. It does seem like it would only be fair for guitarists to start bringing in amps since the drums still "bring theirs." I do understand how to play what's needed. With two electrics and one acoustic I quite often take the middle ground of playing chords above where the acoustic is, but below the higher lead parts the other electric is playing. Or I'll play finger picked arpeggios or "one strum per Measure" stuff. But when several musicians out in the pews tell you "can't hear the electrics" and your wife says " why do you bother," it's a bit depressing. This is all about service, but warming a spot on stage and adding to the "wall of mud" makes no sense -- I'd be better off cleaning the bathrooms :-) Even if we had electronic drums, the sound tech needs to ride the faders so each song and passage gets what it needs -- not sure I see that happening so I guess I'm just trying to deal with my own situation for now. The only paid person is the full-time worship minister. It looks like the purchase of a "quieter" drum kit with different cymbals is in the works, but that's been the news for several months so not sure when its going to happen. I may try pulling out one ear bud and try to get a feel of what's happening in FOH before buying a wireless system. I realize the risks in only using one ear bud so you can't be cranking them.

I'm so fed up with volunteer sound techs ( and drum volume ) at my church that I'm about to get extreme. I'd like thoughts on stacking Studio EQ effects near the end of my patches on an HD500x. What I'm imagining is footswitch 1=overdrive of some type FSW 2=Studio EQ with mostly flat EQ and some gain boost FSW 3=another Studio EQ with mostly flat EQ and some gain boost Volume pedal set at end of patch with minimum 70% and maximum 100% Yes there may be some discussions and negotiations with the music leader and sound techs -- actually there already has been some. Since I run sound as well as play guitar on different weekends, the leader seems ok with me walking the room during rehearsal ( considering a Line 6 G50 relay wireless rig for that -- need to find out if that has any gain boost options ). ----------------------------------------------------------------------------------------------------- ....boring background you probably don't want to read I'm also discussing the need to get a sound consultant in for evaluation and training. What we've done in this 300-seat church is migrate towards quiet stage by getting rid of all amps. But the church quit before dealing with the acoustic drums. So with a maximum 95 decibel limit, you wind up with a ton of drums in the room, vocals boosted to stay on top, and other instruments mostly buried in the mix.

I'll try it but would probably want to set that input impedance to "preset input setup" since almost all of my patches are set to impedance "auto" and Global

Thanks for the feedback... One other thought came to me. On the other patches which typically use dual AC 30 TB or dual Marshalls etc I've been setting the channel volume on the amps all the way up, the "master" amp parameter all the way up, the mixer usually 2-4 db up, a compressor like the red comp near the front of the chain with 50-70% on the level and a volume pedal as the last effect in the chain set to min 70% and max 100%. (almost always in the full up 70% position) Amp drive is usually from 30-50% and for what I play I rarely need to kick on an overdrive. I'm thinking that when I use an amp model with less output it can't keep up with the settings on these other patches. So I could back the channel volume on the Vox/Marshall patches down to 50% which just means the sound guy will have to boost the gain on my channel. The real Rivet has two 60 watt amps so its not clear to me why it should be "quieter" than dual AC30 or dual Marshall Brit J-45s. As far as cabs and mics, if I'm not sure I use identical cabs/mics for the two amps to avoid phasing. Otherwise I may pick a combination MeAmBobbo has verified http://foobazaar.com/podhd/toneGuide/cabsMics#dualCab-faves

I've been trying compressors and have pushed the mixer as high as +7 but haven't tried using EQs to boost output. Have you found any particular speaker cabs or mics that help this amp? Seems like I noticed something similar with the new Vox AC models like the A30 Fawn Nrm and A30 Fawn Brt. Not odd distortion but just low output. The regular AC 30 model doesn't suffer from this as far as I've noticed. I use a different patch for every song so getting the signal level to the mixer similar is important.

I'll resist the temptation. Yes there is a question. Has anyone experienced that and if so how did you fix it?

HD500x with vintage pack. I've created patches with this Jazz Rivet ( Roland Jazz Chorus ) amp model that sound good and others that just have no volume and sometimes distort with nearly the same setup as the good patch. Almost all of my patches these days are dual amp, dual cab -- and in this case they're both Jazz Rivet with the Jazz rivet speaker cab and same microphone. Typically Noise Gate to Red Compressor to dual amps to mixer to delay to reverb to volume pedal. For these clean patches I don't even add an overdrive. When a patch with this amp decides to sound bad, removing one of the two amps doesn't help.

I love my HD500x but get bored from time to time so considering the HD metal pack. I don't play metal or "djente," but could use a wider selection of heavy drives/distortion/fuzz. I'm loving the Tube Drive and Line 6 Drive that came with the unit -- very tasty even through my strat with single coils. This is kind of surprising since the Gold Lace Sensors in all 3 positions are fairly low output. http://www.lacemusic.com/Sensor_Gold.php I have the vintage pack already. HD Metal Pack Model Name Modeled After PV Panama Peavey® 5150® (Block logo) Mahadeva Bogner® Shiva Brit 2204 Remastered Marshall® JCM800 (Model 2204) Line 6 Insane Line 6 Original Line 6 Big Bottom Line 6 Original Line 6 Variac'ed Plexi Line 6 Original Line 6 Purge Line 6 Original Line 6 Aggro Line 6 Original Line 6 Smash Line 6 Original Line 6 Octone Line 6 Original

I just went through this on my patches, using a db meter app on my phone. Good thoughts above. I might add that in my case I'm setting the volume pedal effect last in every patch and setting it from 70% to 100% --minimum/maximum. My reasoning there is musicians on stage should not be bumping their signal output by very much when others are receiving that in their in-ear monitors. If i just need to boost a patch's volume, the mixer controls would be first, making sure they don't cause clipping if raised too high, then the amp channel volume, then the gain on a compressor.

Can't run stereo, only one PA channel per musician. :-) ( and we all run direct to mixer, no amps on stage )

I'm looking at this song which is about 150 bpm. Someone else will handle the high/dotted-eighth delay parts so I'm handling rhythm and vocals. I tried dot eighth on the rhythm but the palm-muted downstrokes are too fast to maintain, for me. Regular eighth note delay ( 199ms ) works fine and allows me to do a less energetic rhythm. Then I decided to try adding a 1/4 note delay ( 397ms ) which sounds good. Just not sure how people usually set feedback and mix when using two delays. https://youtu.be/XIveNc0cyY8 http://tomhess.net/Tools/DelayCalculator.aspx

Looking at two of my own tones I see that when the patch uses two amps and you list both of them when posting the patch, there is no number. If there are two and you only list one, there is a number. So I'm assuming if you don't list an amp, it sticks a number in there. http://line6.com/customtone/profile/Indianrock2020

Opening a few of those patches in HD Edit sometimes showed the amp the number goes with. Other times it was an amp only found in an add-on pack like the metal pack. This number generally brought up the Solo 100 ( 458865 ) but other times seemed to apply to the Peavey 5150.

Nice. Only theoretical downside is I'm liking the sound of dual amps/cabs. But this is definitely another tool to put in the box.

Ok so a smooth gradual transition as opposed to clicking on an overdrive. I'll try it out. So far I've been putting a volume pedal effect at the end of each patch for volume transition from 50% to 100%, which of course gives me volume control but does nothing with the tone.

Just discovering dual amps/cabs and liking it. What is this changing tones with the expression pedal? Do you mean assigning amp gain,drive or tone controls to the pedal? On dual amp/cab, I've been paying attention to Meambobbo's suggestions on mic/cab combinations that work without causing phasing issues. http://foobazaar.com/podhd/toneGuide/cabsMics#dualCab-faves

http://line6.com/support/topic/4000-pod-effect-dsp-usage-table/

Actually here is a ten footer which could be handy. http://tinyurl.com/nhvlshs

I actually didn't find a replacement usb cable on Line6's site. Any reason this shouldn't work? This is a backup since the original is still fine, but heavily used. Hosa Technology USB-205AB Type A to Type B 5-Feet High Speed USB Cable http://tinyurl.com/oagk8nx They also have ten and 15 foot versions. This cable is designed to interconnect devices with USB interfaces. It is ideal for connecting an audio interface, USB microphone or instrument, or most computer peripherals to a PC Burst data transfer rates up to 480 Mbps (system dependent) Compliance with the USB 2.0 serial bus interface standard Backward compatibility with all USB 1.1 interfaces Connector(s): Type A to Type B. Length: 10 ft

I've been working on our church's XT Live and it uses the MWA 48 The replacement I ordered yesterday from Amazon shows as a PX-2 But the picture shows MWA 48 so thinking either they're the same or amazon just put an old photo up. http://tinyurl.com/np2hqtv

I actually own an HD500x but I need to do some work on my church's XT Live. Is there any chance Line6 edit is going to work correctly on Windows 10? So far the usb cable for my HD500x fits and connects but Edit isn't recognizing the POD. It just asks if I'm doing a midi connection.

I'm 67 now, enjoying the use of my 500x ( church volunteer musician ) and learning a lot here and from people like MeAmBobbo. I think the study and experimentation needed to get such a device to sound good will discourage many. But my patches are now reaching the point where they exceed anything I've achieved in the past with any equipment. Granted, I've never had expensive amps. In my experience the "analog" route requires good equipment in all 3 areas ( amp, pedals and guitar ). You might add a decent mic and reasonable positioning of the mic on the amp along with enough sense to keep your strings fresh and practice. Once you get good patches on your modeler, running direct to PA leaves only the guitar/strings/playing skill.

I've seen something go wrong in this where the volume pedal doesn't work and the patch has no volume. Changing from Exp-1 to Exp-2 or vice-versa seems to fix this. Not sure if it is a software bug or something I'm doing.