MartinDorr

I think the solution to avoid hissing is not simply to set the Master volume high. In my experience Master volume amplifies hiss frequencies just as well as the frequencies you want amplified. At the end of the day you need some target volume and the question becomes how do you get there with minimal hissing or other electronic noise. ... and that usually means that all signals in the whole processing chain (between equipment and between models) need to be properly gain staged/leveled to maximize signal-to-noise level throughout the signal chain. For example, if your amp model does not produce a lot of gain you should probably think about how to provide a strong input signal rather than just making up for the low gain with turning channel or master volume up, which will not only amplify your wanted frequencies but also the relatively high noise level that entered the amp with a not so optimal input signal level. If anyone has more insight why a low master volume generates 'extra' hiss I'd love to hear it. Martin

Great idea and good list to have handy. What guitar model and volume/tone settings did you use? The guitar signal level makes a difference when combined with different amps and there is up to 10dB difference between different JTV models. Thanks, Martin

It would be interesting if you can recall the configuration sequence you used to create your tone (and this effect). I have been playiong around in the past with moving the looper between pre and post position as well as adding and removing Studio EQ as first effect and have seen sporadic differences of 6dB output as if the usual effect of input Same or not Same does not always kick in. I was never able to put my finger on the exact sequence of actions to make this happen. Maybe you see something like this in your tone. Have you tried tearing it all down and redoing it and get the same effect? Martin

Just wanted to say thanks for your work and posting the results. Need a little more time to digest but sure sound like something worthwhile to know. Martin

The only thing you may want to keep in mind (on top of what radatats described) is that you will have 4 program slots on the DT (normally set to provide spring reverb and the 4 default power amp types) that you may be able to use for different reverb selections if you run out of DSP on the HD. For example, you could use the DT program slots to setup just 2 different amps with 2 different reverbs each or just a different reverb for all 4. But this is usually not worth the trouble unless you have no other choice.

If you like the factory patches, great. If not, you are not alone in the camp that thinks they are more 'you call it what you want' than useful. It's more like 'oh you can do this too'. Keep thinks simple in the beginning: An amp you want to explore, maybe an overdrive and/or compressor in front and a delay and plate on the way out to the DT. If your frequencies curve is not what you want try placing a MID focus EQ before or after the culprit. ... and enjoy the ride Martin

The DT-25 has a Mic level XLR output intended to go to a mixer. The intent is to emulate a mic-ed guitar amp speaker, but you can use it as you find useful. I am not sure I interpret your question fully/correctly.

Would you mind posting your setup controls for the best matches you found? I did the same in the past and thought I was close for Type I, but not for all. Thanks

Confirming Radats, center versus hard right/left makes a difference of 6dB for the mixer output signal. If you have effects after the mixer you need to be careful not to drive them into effect produced soft clipping/compression/distortion. Found in the past that you want to stay below peaks of -12dBFS (measured via USB) to avoid even a hint of compression/distortion. That is not to say that you can't use this side effect if it suites your needs and ears ;-) ...

Almost same story for me. Turned it on in A/B and it was broke. I was on a low input signal from HD for home practice and could hear only a faint signal out of the speakers, Master was on 2-3 o'clock. Switching to type IV produced a very distored and still low volume sound from a clean tone. Did not play around more than a minute, tubes all appeared to be alive (glowing). New power tubes and the problem was gone (and the Amp sounded better and cleaner than before) Martin

I thought the difference was in topology 1: BF Double versus Lux, but I may be wrong and it's a while since I tried this comparison. Just make sure to turn default Cab modeling on when you try to match what the DT does with an HD. Check the forums for posts on more details to sve yourself lots of time and frustration to get it close (unless you succeed on first try ;-). Martin

No, was looking for something like that but did not find it 2+ years ago. Ended up with a slightly upward angled raised stand, essentially a small A frame with 2 outfolding Amp holding arms. Pretty solid, with adjustable height. Forgot model/brand, but can check when I get home tonight. While it would be inconvenient to push the HD500 under the A frame from the side, I found that leaning it on the 2 arms of the forward facing A frames gets it sufficiently out of the way and almost completely under the Amp. If you can find a wide enough A frame you could potentially just push it (flat) between the A frame legs. Probably not much better though because of the rubber feet on the HD500 as you'd have to pick it up anyway unless you get some wheels for it ;-) Good luck, Martin

Yes, you could not ... unless you connected something to MIDI and it happens to send commands the DT took as valid input ... unlikely though as you described how you use it. You may want to do a reset though to be sure you have a clean plate (and default settings). Push the amp type switch down AND the tube type switch up while turning power on. That should do the trick (described in DT MIDI Implementation Guide). Good luck, Martin

Don't know what the voltage would be, but if you measure via USB on an empty patch that you get more than -12dBFS Peak (mixer at 0dB gain) I would either turn the gain on the external device down or lower the gain on the first HD effect/amp so that the output of the simulated block is no more than -12dBFS as a rule of thumb. Good luck. Would be curious to hear back what you will see for different things you connect.

I'ld think it would be problematic to get a balanced stereo sound and not loose some key advantages from hooking up the DT via Line 6 Link. Seems 2 DTs or 2 Blues Jrs would be a better choice if stereo is important (and if you are happy with your Blues Jr results).

While we're all going at it I throw in a hunch (unverified observation) that if true will make you use Line 6 Link and not go directly to the effects loop return. I tried in the past (not very successful considering the effort and outcome) to balance volume of different tones by measuring RMS levels via USB assuming this signal will be sent to the DT for amplification. My assumption was that if I send balanced power levels to the DT _AND_ use the same power amp configuration I should end up with same level volume out of the speakers. Not so. I got so frustrated from this not working that I gave up before remeasuring and tripple checking everything, but my conclusion was that the HD is sending at least the Drive setting to the DT via Line 6 Link and Drive is used by the power amp stage and thus changes the volume and tone the power amp stage produces. In other words even though Drive changes the preamp level (besides the tone), balancing preamp output levels sent to the DT will not produce balanced volume even if the same power amp type is used if the Drive settings of the tones are different. The effect seems to be most pronounced with the higher feedback types. As I said earlier this would need to be rechecked before it can be trusted because I really dropped the ball in frustration and went back just playing rather than measuring and looking for the ellusive truth we all seem to be hunting off and on.

I think what it was called on the HD does not matter for the DT. The important part is to recognize that the Master Volume control on the DT happens before the effects loop send. Just like reverb is applied before the effects loop send (which seems a little odd to me) It all makes sense from a minimal HW design investment though. One would want to do all the DSP work before some final DA stage. If the effects loop would be in the middle of the signal path like on the HD the DT would need an additional AD/DA conversion and associated HW.

Sounds like the Pro X (or any X) adds something to the patch when compared to a regular HD patch. The regular HDs load it but when using it they sound bad. The other way round apears to work though, i.e., when an X loads a regular HD patch. The X may fill gaps with defaults when it finds the 'fill' values of previously unused fields present in the HD patches. Obviously this is all guessing, but I have seen this before in SW products where backward compatibility is preserved (the old data sets work in the new product) but the other way round does not (because the old product simply does not do the right thing with the new data).

I understand that there are other problems caused by conneting the DT after the L3t, but have you tried whether doing so solves your problem your specific problem? I do not understand what 'it' refers to in 'if you don't it won't save the topology settings'. Is 'it' the DT or the HD? If you can't transfer the DT knob settings to the HD to save them you may be able to live with that as long as you can set the DT knobs from the HD and save them. On the other hand if the L3t drops all the MIDI info from the HD and does not pass it through you are out of luck.

Interesting find. I missed that option while reading over the MIDI specification. I think this could be also used by HD users to avoid having an unused amp model in path A to create a no-preamp path B to the DT. The 'No Amp model' would have to be in channel B though to make this work.

Taking a careful look and reviewing the message boards is highly advisable. I don't have an L2 but I believe there are several topics/issues that you may want to be aware off before buying unless you can easily return or try out in store. If I rember right, the DT XLR out is Mic level so you may want to consider get the L2 with mixer if you want to use this connection, and I believe there is an open issue that the L2/3 switch to combo/poweramp mode when connected via L6 Link and you change a patch on the HDs. There may be more, but I am not tracking these topics and may have missed some important detail to be aware of. The sound I hear is great and L2/3 FW updates may address issues, though I would not trust that this will happen. You should aim to be happy with what you get today.

The only way I know of is to remove the Amp model on the HD so the DT will switch to channel B and then use the DT channel B knobs to dial in the settings you want. If any of the default amp models selected by Type I-IV do not fit your bill you need a MIDI editor to change the DT program slots to the amp you want (you can also select the reverb and Cab model you want) and use the Type switch on the DT to pick the amp (or use MIDI control to get the same done in an automated fashion). I have not done any of this, so this is my translation of what the documentation says. Good luck ...

You only would want 2 DTs if you need stereo amplification or produce sound from a mix of different power Amp types. You can use 2 different preamps in path A and B on the HD, mix them, and then run the result through a selected power amp. Kind of what some players do when they connect 2 channels of an amp with a short cable between the secondary channel inputs. Except on the HD you can combine a BassMan with a SLO Clean ;-)

The only thing that comes to mind is that the editor may not be able to send MIDI requests and get a response (he may send but the DT does not get it), but the DT sends out MIDI if you turn the knobs. Maybe a DT reset is in order if you have not already tried it.

If you want to use the preamps in the DT you need to select an HD tone w/o an Amp. In this case the DT switches to channel B and you can have 4 preamp, ... settings selectable with the Type switch on the DT. It is my understanding that you can use a DT editor or a MIDI controller to program different Reverb settings, Mic model for XLR, and PowerAmp parameters (like feedback type) for both channel A and B instead of the default settings in the Type I-IV DT program slot selections and then use those them with HD preamps for channel A and DT preamps for channel B. Not so sure this is worth the trouble unless you run out of HD DSP power and can live with a limited set of the reverb/Amp settings in the DT.