MartinDorr

You will have to rebalance volume and build new tones for your DT50 versions because the DT power amp does not attempt to recreate the HD power amp simulations. You may want to consider switching your tones to only use the preamp models in the HD (but this is not a hard requirement - play with it and use what you like). Different DT power amp configurations will produce different volumes like tube amps do - there is just no way around it. I no longer us the DT but have measured how volume levels change based on DT power amp configurations (see attached PDF). My approach to adjust for it is to put the mixer at the very end of your HD model chain and set it to 0dB gain for your tone with lowest volume level. Then adjust all the other tones turning gain down so that they all have the same volume (assuming you want balanced levels). I would start by setting the DT Master at ~3pm and adjust the level you want for all tones with Master on the HD. Once your level is bearable play with the DT Master to get the max tube effect you want from all your DT power amp configurations. The attachment below describes how you can get more control of the DT power amp configuration. Don't let this confuse you if you are not interested. Just look at the table that shows how different DT amp configurations produce different volume levels. I have a DT25 and thus your DT50 may not behave exactly like that - but I suspect its in the ball park. Enjoy, DT25 Power Amp Parameters.pdf

Same here. I wonder though about an all around wireless guitar with a sufficiently large battery to run both the Variax electronics and the wireless transceiver, combined with an easy to use guitar charging dock,i.e., you put your guitar on the stand and whole things gets recharged without having to through the trouble of plugging in. That together might get the attraction you need for the price point.

The HD's XLR outs are Mic level. Should work fine if you connect to Mic inputs on your mixer. Otherwise like Nico said

As far as I can tell there are 3 criteria to consider when you select (or deselect) 'Same' on input 2: If you need the same input signal on both A and B and path A and B are totally separated till mixer "Same" (or explicitly setting a type that includes the used input for input1) is your only choice to get the same input signal on both paths. If you use a combined path before path A/B split and use a mono effect before the split or an amp at the splitting point your signal level will get a 6dB boost at the first mono effect or amp in split position (hope to rember all those details right - I stay away from those setups). There are 2 things to consider for this case: There have been reports that combining input1 and input2 in this fashion may cause phasing and thus will have have a sound impact (I have not personally experienced that effect, but I believe meambobo and others reported it) If you boost your guitar input signal by 6dB you may push your signal level into a range where various effect and amp models start to compress and/or soft clip 'independent' of the modelled device and its model parameter settings (I am confident they do - but why they do is obviously my personal opinion). As a consequence you may not want to use the 6dB boost (via Same) if you have hot PUs or a high output JTV model selected. For example, my JTV-69 with a Lester-1 guitar model while playing rythm will generate signal levels that cause compression unless I dial volume on the guitar back, i.e., I certainly do not want to boost that signal another 6dB unless I am looking for compression and have no other option to get it. In practice I find it far more useful to put a Studio EQ or a Mid Focus EQ with neutral setting in the signal path to boost the signal much more precisely to a healthy level whenever the guitar input is weak or if the selected Drive of an Amp combined with 100% Channel Volume still does not get me a healthy signal level. My take on healthy is Peak not to exceed -12dBFS for clean and -9dBFS for dirty and RMS around -30dBFS (use USB and a DAW or other metering SW to check). These are not hard recommendations; once you are in the ballpark use your ears to balance and trade off between peak and RMS targets while getting volume leveled tones.

Mic has smaller (worse) SNR even if sensitivity is turned all the way down (at least on my HD500). Recommend not to select Mic as input source unless you actually have a Mic connected and use it. Obviously also not an issue if you have Mic on a totally separate path and the Mixer for that path is muted.

Just heard Sweetwater had from Sales rep that they have Helix in stock.

I did not intend to request any preamp measurements. Just wondering and thinking loudly what L6 may have thought making Presence also available for preamps considering that Presence seems to be a negative feedback loop in the power amp circuitry (in tube amps that actually have it). Besides guessing what Presence normally does, i am perfectly happy with having another dial to get a better tone independent of 'right' or 'wrong' ;-) Thanks again for the trouble getting some of the hard evidence on how these models and their dials behave. Martin

Yes, and considering how Presence 'normally' works in a tube amp, one would think that it is a power amp model function. That does not seem to be the case though in the HD because Presence also impacts tone when you select a preamp only model. My memory may be off on the later (have not used preamps for while now).

Very interresting to see these graphs and the surprising variation in how some of the Amp models behave to tone stack changes. Great effort and thanks a bunch to get this kind of insight! If I interpret the measuring conditions right this would apply to clean tones given that THD was minimized using Drive control. The question for me would be what, if any, differences to expect when Drive is adjusted to something that just starts to break up or when in full distortion territory? Does anyone out there has experience in that regard?

If the amp B is just bypassed there is still a volume knob and I believe it could be controlled with the pedal. Wild guessing would be reduced with a posted tone For example, not clear what inputs are selected and where in the path the volume pedal is.

I believe RME claims 8 channel operation in class compliant mode with El Cap for their relatively new Babyface Pro. I have not used the product; just studied the Specs and user documenattion while considering getting a top notch audio interface. RME's claims are usually very reliable, though I believe they use FPGAs in their solutions and may not rely on SW to handle the problematic USB functions.

I read a while ago that someone hada problem with dials on the HD floorboard changing due to vibration/age of HD. Seems far fetched, but probably worth checking into if you find nothing else Good luck

Looking forward to the next question then :)

May work (and worth trying) if you are in a hurry (and the right guy was reading the post) ... But there are some benefits in reading the manual ... like you might learn a thing or 2 you did not even know the box or the user can do ;-) Reading the manual is usually still a good investment on the long run. Even if sometimes you just find there is really nothing more to it or the manual is useless and forums are the only way to hopefully find whatever you're looking for

We may find it amoral if one 'buys' an amp, profiles or records with it, and returns the amp for a full refund. That said, such people are not stealing anything within the frame work current law and store policies cover (as far as I am aware of). At present we simply do not buy the sound the amp can produce, but only the amp HW. You can record it, profile it, ... and even drop it on a sufficiently padded matress ;-). As long as the amp HW is in 'practically new' shape you may be able to return it for a (full) refund per local store policies, customs and/or laws. This is clearly not the case if you buy audio or video media, or even just sheet music (at least not in the places I have shopped so far). In order for the amp buying/returning situation to change the amp manufactures have to sell a license to use the amp (besides or instead of the amp HW). But until then you can profile your heart out and be legal ... and if the latter is not enough for your soul - just don't do it and lobby that store owners or amp manufactures make changes if you can't stand the thought of other people doing it. Just whining about it will change very little

I get that point and the bitter taste it leaves. But it is in no way different than if they buy the amp, make a hit record with it and bring it back for a refund. They are using a morally suspect loop hole in our for the most part law-governed society. If you live in USA and talk with retail employees you would be amazed on what they take back for a full refund while we all ultimately pay for it. My point is 'this is life at work', call evolution if you will. What moral or ethical rules imply does not really matter much in practice in this case because preventing this 'stealing' of the amp's sound is not enforcable (yet). You simply do not buy what you can do with the amp. You just buy the amp (today). Maybe tomorrow you will be forced to buy the right to use it limited to commercial use, personal enjoyment, etc. It reminds me of sheet music! In the countries I am more familiar with you can't get a refund for it (for obvious reasons). Same with opened CDs, DVDs, and other media. Maybe the amp manufactures need to switch to selling amp use licenses instead of amps ;-)

The obvious: Life (and everything in it) is constantly changing. Pagers got replaced by cell phones and now they get replaced by smart phones, and those will get replaced at some point as well. Modellers replace real amps and effects (we know not fully, but close enough) and once there will be hardly any real amps worth modelling the modellers will invent some virtual amp models (what we already see in Line 6 originals). Things just change ... there is no sense fighting it. Enjoy the old and the new for what it offers and while it lasts. It's not going to stay like it is now! Ethics (man made rules) are not preserving anything on the long run as life will roll over it like it did in the past.

Take a look at the attached PDF and adjust the mixer so that you get a mix of path A and path B HD signals sent to the DT. The intent of the PDF is a bit different (to control the DT power amp settings from the HD), but I think it will provide the insight you need to do anything the HD/DT combo can do without extra MIDI cabling or audio cabling other than Line 6 Link. Good luck! DT25 Power Amp Parameters.pdf

Yes, i think I read earlier that the XLRs are not summed when only one XLR is connected (like the 1/4" TR outs are)

You can only use 1 type of power amp configuration from the DT, but you can use 2 different preamps (or even power amp models) on the HD. The model in path A (top in HD screen or HD edit graph) drives the DT power amp selection. Hope this is enough to get you going.

I don't have a Line 6 provided NewTone anymore, but believe to remember that it does not have any model in it and thus the volume depends on the signal level of the guitar you plug in. This may be fine but is probably in most cases a little on the low side unless you have real hot PUs. If you have a DAW or any other signal measuring SW connect your USB and check your guitar signal level. wo any models enabled. Ideally you want your peak signal level not to exceed -12 to -9 dBFS. If you are looking for super clean -12dBFS is probably best for you. If always want some 'hair' in your tone the -9dBFS is fine.Your RMS signal level should be at -30dBFS or higher, but how far RMS is off from the peak level depends on the type of PU your guitar has. Put your guitar volume and tone at max and check where you sit on the dB scale. You will probably be 6-12 dB lower. If true put a Mid Focus at neutral settings or a Studio EQ as first model and raise gain until your your peaks stay just below the selected max value. Turn your Master volume down to what's comfortable. Now you have a high volume, high quality guitar signal to work with. No matter what you add modelling wise, the level should stay about the same, i.e, if you turn any model drive up - turn any associated gain down. You can use RMS levels as a first order guess to maintain loadness levels, e.g., around -30dBFS, but this won't be perfect. Use your ears and the target volume to fine tune.

Because we're all naturally lazzy and want that things are either automatic or simple ;-) I guess we're all hoping for the silver bullet solution, but in this case there is none. It's the old fashioned way: Change your tone setting until it does what you want ...

I doubt that such a tool could be sold for any kind of profit by Line 6. For one, good audio measurement SWis not cheap to make and in this case it won't be easy or straight forward to use either. There are so many factors that impact equal loudness that just measuring peak, RMS, using weighting, or even adjustment for volume dependnt frequency hearing will make such a tool complex to use and still heavily dependent on personal judgement. The only thing I miss is some indicator (light or bar) that shows me when a specific modelling block exceeds the models inherent soft compression/distortion level (usually somewhere between -12db to -9DBFS peak), which does not reflect what the real piece of equipment actually does. This would be useful to keep signal levels between models at healthy levels, reduce noise, and avoid signal level induced model distortion (unless intentionally selected). Besides that I see no way to avoid the personal balancing adjustments just by listening at the intended volume level. You can balance by peak, RMS, or some weigthed form (like broadcast loudness standards) and you still not get the same loudness if the sounds are fundamentally different, like when you try to balance volume of a very clean tone and a distorted or highly compressed tone with lots of effects.

Turn your bass down to 0 (not kidding), turn your resonance off, dial in your drive or pedal boost, adjust channel volume so that peaks stay below -12dBFS as a start, bring bass back in to your liking - you may still hate it. Helps me when playing with tones and (re-)starting from scratch.

Could be a number of reasons, e.g., The input sensitivity is not the same The input impedance is not the same The Drive parameter in the Amp model does not scale the same (% versus dB, i am widely guessing) The channel volume parameter ofthe Amp model does not scale the same The soft clipping compression in the HD (when input or output signal exceed -12dB peak) kicks in earlier than in the Helix