codamedia

I've never had this happen... and hope it never does on a gig. Pure speculation, but I believe the patch you are on when it freezes is the corrupt one... and the problem is that when the system boots, it always loads the latest patch... which in this case is corrupt. There are boot up procedures to clear patches, restore factory etc... but yes, that's the end of your night as you know it. If my hunch is correct, what we could use is a boot option that "clears the existing patch"... rather than all patches. Or a boot option that "always boots to patch #1" that we can choose to leave blank if we are really concerned. I can get by without one patch...and I can always store backups on the unit itself. As for what causes it... your guess is as good as mine. What makes up your patch? Is it DSP heavy or does it use a lot of snapshot changes? Do you have a copy from HX Edit you can share? With the list of users that have the HX freeze, it would be interesting to see if there is something in common .... Once the problem can be reproduced, it can be avoided and better yet, fixed by L6.

Word of caution... standard MIDI (DIN) is self contained and works from device to device while USB midi requires a host. USB MIDI is great with computers, but generally speaking you cannot go from device to device with USB midi as it needs a host device (often a computer) to manage the signals. I suspect in the future there will be more devices that can double as a USB Midi host... but at this point the options are very limited, relatively expensive and/or experimental.

If you are looking for the older version of Workbench on the Line 6 site it won't show up if you limit the OS to Windows 10 in the search. Change the OS to Windows 7 and it will show up... even though it works fine in Windows 10.

Yes - I guess it has been that long since I've seen them.... Steve was in the group when I saw them.

Or why producers and sound techs don't like guitar players - LOL!

This is a great resource... thanks for sharing.

I just answered another thread with the same problem. For the most part, my HX works as it should... but in some locations the capacitive switches will trigger at inopportune times. My belief is that this is a humidity difference from location to location. Do you really need capacitive switches when playing live? IMO - they are a luxury when setting up the unit, yet a possible annoyance in a live situation. I just turn mine off when I go to do a gig then never worry about it again. You can turn them on/off in the global settings.

IME... the environment I am in can sometimes wreak havoc on the capacitive switches. I always wear shoes/boots when I play, and most of the time they work as they should... but in some locations my HX will jump to edit mode at inopportune times. I believe this is caused by differences in humidity levels... but I could be completely out to lunch with that thought :) I get around it fairly easily. Capacitive switches are a luxury when it comes to editing but when I really think about it, I don't need them live! I turn them on when I am working on the machine at home or in the studio. On a gig (or in a practice if it's acting up) I turn them off and don't think twice about it.

When I'm having a bad day I take a break... then come back and approach it differently. Not sure about you... but if I head down a path with the wrong attitude (eg: this thing sounds like crap) I will never get what I am after. Usually I get an "ah-ha" moment when I am not trying so hard. It takes a while to wrap your head around the concepts and techniques of going to FRFR. You are no longer using an "amp in the room", you are now adjusting your guitar from the producer / sound tech's perspective - it's completely different and takes some time.

I saw a version of LRB about 5 years ago... they were outstanding. I don't care if none of the originals are still in the band... they play, sing and sound like they should. At the time I saw them they were still on backline amps, but I'm not surprised they moved to modeling. Their sounds was so impeccable you could tell they took time to craft their tones regardless of what they were playing on. When I saw them their guitar tech came out and grabbed a third guitar for Night Owls :) John McFee (Doobie Bros).... What an underrated monster of a musician. He was with Clover when they recorded Elvis Costello's iconic first album... his guitar work on "Alison" is still some of my favorite to this day. He's the dobro on Steve Millers "Dance, Dance, Dance", he's the pedal steel on Huey Lewis (also from Clover) Honky Tonk Blues from the Sport album, he's the picker/steel/fiddle on Southern Pacific's 4 incredible albums and of course he is the utility man in the Doobie's... his second stint with them. John has been a Line 6 users for years.... going direct as far back as the POD XT and Variax 700. He's a huge advocate of their products.

The full amp model includes the pre-amp, the power amp then the cab/mic modeling. The preamp model excludes the "power amp" section, but still has the cab/mic modeling. This mode does use less resources, but you don't have the deep editing features (bias, x-bias, master, etc... etc...), Since you are already used to the 4CM method... it's easy to experiment.... Insert an amp block either just before or just after the loop, and set the bypass volume for that block accordingly. Set one of your switches to simultaneously toggle the amp and loop. When the amp is on the loop is off... when the loop is on the amp is off. Loop on (model amp off) will be your real amp's pre-amp.... loop off will activate the amp model in the HD. Now experiment with different amp models... pre-amp or full models. Just be sure to turn the cab/mic choice to none. Sadly, this must be done every time you change amp choices.

Sorry to say it, but that means nothing! There are many ways to wire an expression pedal, and many ways a product is built to read it! I use that very pedal with my HX FX. There are several revisions of that pedal, I'm not sure we will have the same one. Mine has a switch on the back for "M-audio" or "other"... I set mine to "M-Audio" The pot on the side needs to be all the way down. (When looking down at the pedal (as you would step on it), turn the top of that pot away from you until it stops) It doesn't work when you first turn on the unit... I need to "turn on the HX... rock the pedal, change the patch, rock the pedal"... then it works as expected for the rest of the night. If you touch the pot on the side of the pedal, you're screwed. Start over! Ultimately... the components are there in this pedal. A person can easily wire a T/S cable directly to the pot as per the L6 diagram PHIL_M posted above. This would bypass all the options of the pedal that really just get in the way. Good luck

Rule #1 on this forum is that you are not allowed to dis the tuner in any way :) IMO... l like the tuner in the HX FX and find it quite accurate.... BUT - people get used to other tuners, love other tuners, and depending on their setup - the other tuner may quite possibly be the better option. There is a reason why the HX provides the option for the TUNER switch to output to one of the sends.... it's for those that prefer a different tuner. From the manual... "TIP: If you have a favorite pedal tuner and wish to use it instead of the tuner within your HX Effects device, connect Send 1 or 2 to your tuner's input and turn Knob 1 (Tuner Out) to select "Send12." This way, every time you hold the TAP footswitch, the HX Effects device will automatically route the signal to your favorite tuner."

If you have the XPS A/B power supply, you need to connect the Variax to that using a TRS cable... not a standard guitar cable. If you do not have that power supply or cable, you need to use batteries in the back of the guitar.... when using batteries you can use a standard guitar cable.

The HX Effects does have "Analog Bypass Mode" that you can enter... by default it is set to DSP Bypass (that uses a buffer) but in the global settings you can change it to analog bypass mode which is essentially "true bypass". Once you change that setting you access bypass by pressing "mode & tap" at the same time. You are thinking about it backwards. The HX is not boosting high frequencies, it's negating the high frequency loss caused by the cables on their own. In other words, the purer of the two sounds is actually through the HX. My own approach to all this "cable loss" madness (it varies from cable length, and from cable to cable) is to always use a buffer and set my tones based around that. I find that's the easiest way to achieve consistency.

Those pins will be fine with any regular usage over many, many years. Vox, Marshall, Hiwatt have been using these connections in amps since the early 70's (maybe earlier) and they are still holding up fine. The male pins are rarely (if ever) the problem, it's the female connector that looses tension over time.

Look in your global settings. there will be an option to set EXP2 to global.

That's almost exactly how I set my HX Effects I have an external footswitch (on/off toggle wired with a 10k resistor). The external footswitch is used to control my wet values.... I use it to increase the blend of delay and often increase the number of repeats a little. Important to understand, these "footswitch" values are per preset not per snapshot... but I don't find that to be a limitation. The value of the delay time I leave up to the snapshot and/or have it set to tap. NOTE: You could do this with an expression pedal as well, but I like the simplicity of an on/off button.

There are benefits to both approaches.... you need to decide what is most important to you. The mixer would offer you immediate tone controls you can use to adjust for the room. This is much easier than diving into the global EQ on the HD. You could also separate the paths into two separate channels on the mixer. EG: If you have a vocal path and a guitar path, or an acoustic and electric path, you can separate them at the output so you can EQ and MIX them at the mixer instead of on the HD. On the other hand.... All mixers have a tone of their own... and you may find the HD sounds better going directly to the speaker (avoiding the pre-amps in the mixer).

I'd hate to point out the obvious... but if you are plugging into a PA, the tone controls on the PA become the Global EQ.

Sounds like a grounding problem. Is the guitar amp plugged into the same circuit as the computer and POD? If you disconnect the amp, do the computer speakers still hum?

If you can afford the 8's, go for the 8's. They are worth the extra money. It's all relative... the 5's sound great, the 8's sound better. Adding the sub to each would still have the same results.

No it won't. The one in the pic controls the amp model only. In the case of no amp model, it does nothing. In the case of dual amp models it will (by default) control the amp model depending on which path your cursor is on. I've often wished that those could be re-assigned to something else on a patch by patch basis, but they can't. NOTE: Line 6 sells a Vintage Model Pack for the 500 that includes an Acoustic AMP. I add that to my acoustic instrument patches which gives me access to the amp controls. The global EQ is your best best.... hiding on the last pages in the global settings. You will have to get adept at that. Alternatively... you could add an effects loop to each patch at the end of the chain and insert an outboard EQ. That would give you something physical to tweak show to show.

They certainly run some effects as well... delay, trem, likely some overdrives for boosts, etc.... but that is all icing. It all starts with the fundamental tone which is just grinding guitars at their best. A couple nice amp choices and a studio comp should get you there... maybe with a touch of verb.

You got it, two players... two tones at one time. One a little cleaner, the other a little dirtier. I've always liked their guitar tones, they remind me of a Canadian band from the 80's named Teenage Head. The tones are also a little reminiscent of Joan Jett's albums... with Joan playing a Musicman Amp in one speaker and Ricky Byrd blasting a Marshall in the other. I think Jimmy Eat World was a combo of VOX and ORANGE... but I'm not positive. It is definitely British voiced, so I would start there. For the dirt tone I would dial in a Jumped Plexi... moderate gain, EQ to taste. To get the slightly cleaner underlay, dial in a VOX AC 30 a little cleaner then blend the two tones together. After the two amps.... add a Studio Compressor. That will glue the two guitar tones together and sound more refined. That step is completely optional, but it is definitely something they did in the studio to get that sound you hear. Good luck! This is a "Rig Rundown" of these guys on you tube. They are running Fractal Axe FX these days... so the sound you are after is certainly possible within Modelers and Multi FX