MartinDorr

Thanks, that EPSi info was a nice side effect of Arislaf's comparison. Probably all depends on whether your music's sound has room for subtle details ...

Maybe a business agreement? Unless there are 2 of them, a Bogner did their DT power amp section ;-)

If one is ready to fall, one will fall, eventually ... Enjoyed the joke, I have to say

Sounds like you need new tubes (or at least one of them). I had the same on my DT25 and it actually sounded much better after a tube change besides removing the crackle. Can't say where to start; i just changed them all and kept the old ones as backup. Martin

Not saying the Mid Focus can be set absolutely tone neutral, but for my purposes it was good enough as i could not hear a difference when i checked. That said, if your Mid Focus or Studio EQ is not transparent you may want to check whether the input signal to the EQ is not too hot. I found that if your input signal exceeds -12dBFS peak you start to see some compression and soft clipping. Around -9dB it does not sound much different in most cases, but things will get worse nasty if you exceed -6dB or more. Same is true if you use a gain setting that makes the EQ output signal exceed those limits. By the way, amp models do that too, but with them you may actually want to take advantage of a little compression unless its getting into the digital clipping sounding range. You can verify this for example with USB output and a good metering app or plugin in a DAW. You will find that changing the gain setting up and down the signal levels in a very predictive fashion (same % difference = same db gain difference for both peak and RMS levels, but if your peaks exceed the limits given above, raising gain will not produce expected results way before clipping: the peak levels will stay lower than expected and the RMS levels will go up higher than expected, which I believe is a sign of added harminic distortion/compression.

For an approx neutral tone setting of the Mid Focus EQ use HP Freq 0% LP Freq 100% Both Q's to ~55% Gain ~0% or very little For a more detailed example on how to use this EQ see Meambobo's guide

Thanks, will try that one too ;-)

Thanks, will check it out ;-)

Can anyone recommend a standard guitar model (tuned down by an octave) or a custome model to best emulate a bass guitar for jam track looping, i.e., some string use restrictions and obvious limitations are acceptable.

It believe it uses the accoustic sound of the Amp (i.e., has a builtin Mic) to control its feedback loop (listening through headphones alone won't allow the feedback control of the pedal). As long as you feed some portion/version of the pedals output signal to the Mic it should not really matter whether your Variax is messing with the string to alt tuning conversion and you put the result into the pedal. Can't say more or be sure as I don't have the pedal and just read about it.

If you bought it second hand the previous owner may have loaded other than the default power amp configuration in program slots I-IV and those amps may no longer reflect the default programs and be louder than expected. Suggest you do a DT reset to go back to the factory configuration. See instructions below (from L6 DT Amp MIDI Implementation Guide) DT Amplifier Factory Reset As mentioned in the above sections, when customizing any settings via MIDI, your changes remain “saved†internally on the DT amplifier. This includes changes made to the preamp and power amp per Voicing switch value, Reverb and more. To return all settings back their factory default state, you’ll need to perform a “Reset†of the DT amp. To perform the Reset, start with the DT amplifier powered “Off,†then simultaneously hold the Voicing toggle switch DOWN and the Pentode/Triode toggle switch UP while powering the amp “On.†Continue to hold these toggle switches in this position until you see the Voicing “I†indicator light up (this takes about 15 seconds). The DT factory default settings are then fully restored and your DT amp is ready to play.

Ahh, thanks for the clarification ... I'd have to agree with the original post, but this is unlikely to change even if it makes sense ;-)

In the HD Channel Volume controls the amp model signal output To prevent clipping one has to turn Channel Volume down as Drive is raised. I'd assume it works thesame way on Helix (don't have one). Master Vloume is really more a control intended to adjust your output Volume to your Venue (or control headphone volume). Helix owners chime in ...

The manual is in the HD500 manual section. Seems Line 6 did not include it in the HD500X section. Not sure the pasted link works here ... http://line6.com/data/6/0a06434d41f050904bee355b1/application/pdf/L6%20LINK%20Connectivity%20Guide%20for%20POD%20HD%20&%20DT%20Amplifiers%20v2.10%20-%20English%20(%20Rev%20A%20).pdf

Wrong Forum. Recommend to post on 'Multi-Effects Units' -> 'Helix' to get a quicker answer. Can't comment, I don't own a Helix.

Start by setting your mixer at 0 as stated above with an empty signal path (no amp, no effect, no nothing ;-) Play your guitar and if it's peaking above -12dBFS peak in your DAW lower guitar volume or even pickups. If you're going for a dirty or high gain tone on the long run a couple dB above -12dBFS is fine. If you are going for clean try to stay at or slightly below -12dBFS for peaks. If your DAW signal is less than -12dBFS peak consider adding gain on your first effect or increase amp channel volume so that your signal is at a healthy level (but w/o risk of compression or soft clipping) for subsequent model processing. Add models and make sure your peaks stay below the -12dB mark in your DAW. For example, I use a JTV69 and for a Spank 4 model selection and going for a super clean tone I use a Mid Focus EQ as first effect at tone neutral settings and with 9dB gain to get my guitar input signal to <= -12dBFS for single note soloing.

I feel a bit jealous of your optimistic outlook ...

It seems you forgot how you responded to polite attempts to help you ...

Forgot to mention that I probably had Cab resonance set to 0.

+1 on pianoguy's general advice (using an external player as reference is a great idea I have not thought of yet)! I recommend you start by measuring your signal level going out of USB using recording software or some signal level meter (e.g., a trial version of Spectre). Start with an empty tone/patch Set input 1 to guitar, input 2 to Variax (an input you do not use) Set your guitar controls to full volume, full tone, loudest pickup combination Move all your empty effects slots (gray blocks) and the Amp block into path A and move mixer to the end Set mixer path A to Center 0db gain and path B to mute (mute does not really matter because there is no sigbnal from input 2, but it documents the intent) Set amp model bypass volume to 100% Set Master Volume to about 11 o'clock for bedroom level (has no impact on USB level and is just for monitoring) Connect USB and make sure all software and driver gain adjustment controls are a 0dB Play your guitar as loud / hard as you might do in practice (playing real music ;-) and watch the Peak meter (hopefully latching max values). I believe you should not exceed -12dBFS peak level for this test (maybe a few dB if you plan to primarily play high gain tones). What to do if you are higher: Lower your guitar volume dial and mark it so you can find the spot later, or Lower your guitar pickups What if you are lower (more likely): Add a tone neutral effect like Studio EQ (overkill, but does not require setting changes) right after path A/B split before the Amp model block and raise gain Once you have an optimally strong guitar signal play with the amp models and add effects. Your output signal should not get any louder than the signal produced in your test setup. For example, I'd expect the following 2 Blackface Vibrato model tones should be about at the same volume level as your test tone w/o an amp: Drive 15%, all tone stack dials 50%, Channel Volume 100% Drive 100%, all tone stack dials 50%, Channle Volume 50-55% I think this should get you the general idea . I don't recall the exact Channel Volume for the 100% Drive case, but you probably don't want that 'tone' or at least the tone stack setting anyway. Hopefully I did not confuse you or failed to recall a crucial step from memory. Good luck and enjoy the ride. PS: For lower Drive values you may need to boost the signal after the amp model because 100% Channel Volume may not be enough to get back to your nominal output level. That said, for anything with a bit of dirt in it you will never want 100% Channel Volume to stay away from distortion and soft or hard clipping introduced by the amp models themselves or effects after the amp. Master Volume has no effect on tone from a signal point of view. Your hearing will tell you differently though when volume is drastically changing.

First check whether you get sound from the DT if you connect the send to the return with bot cables you are using to connect to and from the HD. If both cables work you have an HD problem, if one of them does not work the cable is broke, if both don't work you either have a DT plug problem or both cables are broke (unlikely). If the HD is the problem check the send with something else than the DT (powered speaker, headphones, etc.) Maybe just check whether you any output with headphone out. What output do you use (effect loop send or normal L/R out)? Make sure Line 6 Link is not connected on DT. If it is your DT gutar input does not work Also, once you figured it all out try Palico's advice and see what you like better Good luck, Martin

If you have a rig already I'd recommend to wait and see how Helix will impact the used HD500X prices (should be all clear around Xmas ;-) While I do have an HD500 and can't complain about hitting the DSP limit, I have sporadic footswitch miss-function and I would be concerned that not all HD500X tones work in an HD500 (especially if they come from a well-known player that may have techs to tickle the last nuance out of his equipment). For a hobby player like me flakey foot switches are no real problem, but I would hate to be on stage and those things don't work every time as you want them to ... Martin

Same here with Yamaha MSP5 Studio's. The KRK sounded a bit bass heavy for my taste ... but the room you're playing in can make a big difference. Worth checking a couple different monitors if you consider that route.

Shaamaan, on 05 Aug 2015 - 11:43 AM, said: Just checked and seeing same effect as you. Seems like a SW bug either in editor or HD. It seems to correct itself if you switch to a different bank and back with HD foot switches after you update the HD tones via send.

In single path tones the HD does not model the classic approach of putting effects like flanger/phaser or chorus in the amp effects loop (or using builtin guitar amp reverb or vibrato effects). Single path HD tones are more like the use case where the guitar amp is mic-ed and then effects are added in an effects loop of a (sub-)mixing console getting the mic-ed amp signal. If you really wanted to model the classic approach you probably need an external power amp (feed it with an HD preamp and typical effects loop models from path A) and then bring the miced external amp signal back into the HD to run any console effects (e.g. delay, echo, or reverb) in path B and send it to your main console. You can use an L6 DT amp to do that (and get a bunch of power amp options) and use the DT XLR out to save the mic-ing. The HD just does not offer pure power amp models. At least there is no mentioning in the L6 documentation how to 'neutralize' the preamp in a full amp model. Thus I guess the intent is not to support building tones that insert effects between an individually selected pre and power amp model within a single HD. That said (I have never tried), you may be able to fake a pure power amp model with a neutral tone stack setting and 0% Drive (on L6's DT amps almost all tone stack settings including drive do not change the power amp tone (Presence above 50% does for Type I and III)). You'd need to control the 'power amp effect' with CHA Volume and the 'AMP Parameters' alone (at least if you want to stick to following the classical effects placement approach).