BaylorPRSer

Someone suggested I use a DI box with my POD HD500x. Want to make sure I understand the situation correctly. "A DI box converts high-impedance, unbalanced instrument signals into low-impedance, balanced microphone signals, allowing for clean signal transmission over long cable runs and direct connection to mixers and audio interfaces by reducing noise and interference. It essentially acts as a bridge, matching the instrument's signal characteristics to the equipment's microphone inputs, which are designed for low-impedance, balanced signals" According to the internet^ So for the POD HD500x, it would be useful if the mixer did not have enough available XLR inputs for you. If you're go direct into the house mixer with XLR, then there's no benefit to using a DI box. Am I understanding the situation correctly?

Hey man. Thanks for the help as usual. Sorry it took me so long to reply. Had too much going on over the holidays. I was actually under the impression that it's better forum etiquette to search to see if an issue has already been covered, and ask your question there. Is there a point where a thread is just TOO old? Let me know. I appreciate the forum, so I'd like to comply with whatever best practices are.

He was indeed advising against using 2 amps, each different from the other. What's your experience with using 2 different amps? Any experience with that in a high-gain context? To justify adjusting the global EQ at a gig, it would mean that you have the same issue with all your patches, correct? For example, my metal patch was a bit trebly/harsh. To dial that out with global EQ, I would need ALL my patches to sound trebly/harsh to justify that. Am I understanding correctly?

If you want to take the "one patch per song" approach, does it follow that having a high gain amp in both channels A and B is out of the question? Say I had a Treadplate in one and an Angel Fireball in the other, would it possible to get to a clean tone without changing patches?

http://foobazaar.com/podhd/toneGuide/ This guide cautions against using dual amps and instead advocates using "dual cabs". Would you mind sharing your experience of using 2 different for higher gain type stuff? Also, funny thing. The mid-focus eq (i tweaked it slightly at rehearsal, but not much. mainly on default settings) helped the tone at rehearsal, but then at the gig, it actually sounded better without it. the tone actually had plenty of bottom end and too much top it (although it sounded fine once the bass and drums kicked in, so i left it as is). i suppose it goes to show that when running direct, you have to be willing to tweak a little bit at each gig?

http://foobazaar.com/podhd/toneGuide/quickGuide Hi there. According to the above guide, the bass that the treadplate "puts out is obnoxious". Me and some buddies were rehearsing yesterday, I was plugged direct into the mixer and out through the PAs, and we all agreed that the tone needed more low end. This was EVEN with BOTH the screamer and the amp model with the bass on 100. I went ahead and put the Mid Focus EQ after the mixer, and the default settings got the tone to a place where we thought it was "good enough". We could all hear me over the bass and a hard hitting drummer. But yeah, what's your experience with the treadplate? What are your go-to's for fixing a lack of low end in high gain or modern rock tones? Song we were playing was Slither by Velvet Revolver. I like a bit more metal in my tone the VR guys, but just saying for context.

went through a bunch of posts on this, and just gave up. i simply cannot get this to work as a recording interface. However, i find that I CAN still use the POD HD500X Edit software. The only time that crashes if I unplug the USB cable (or the POD) while both the computer and the POD are on. Not a huge deal. Just have to be mindful, and shut off the computer before unplugging the pod.

Hi there, My A and D buttons require a bit more pressure to turn on and off than B, C, and the FS1-FS4 buttons. Is this normal? Can it be fixed? If so, how? I see there's a buttons option in safe mode, but I don't want to go tinkering with that before I know what I'm doing.

I'm researching the Variax, so sorry for the newb question as I don't own one, but how are you guys using the battery? Or why is the battery so important given this: https://line6.com/data/6/0a020a41127165da770494aa10/application/pdf/James Tyler Variax Pilot's Guide - English .pdf "It is also possible to supply power to your Variax without a battery. When connected to VDI digital input-equipped hardware, such as a Line 6 Helix or POD HD, power is supplied via this connection. You can also power the guitar through the 1/4 inch Analog Output jack using the Line 6 XPS A/B Power supply and 1/4 inch TRS cable in the Variax Cable Power Kit (P/N: 98-034-0105)." I live in Vietnam, so I could be seriously boned if I'm misunderstanding something. There's 2 variaxes I can find on sale in the entire country. One is from a music shop, and the other is on a facebook group

There's a used red JV-69 on sale near me. I live in Vietnam, so these things are a bit hard to come by. There's also a standard at the local music shop: http://www.doremishop.vn/chi-tiet-san-pham/line-6-variax-standard-sunburst-1695.html 1) leaning towards the JV-69 as it is newer. i'm more of a humbucker guy, but as far as i understand, that doesn't matter as i can just model the humbucker with a model guitar. any reason you'd nudge me toward the standard? 2) worried with both guitars about needing a repair. is it fair to say that the action, intonation, and all that sort of stuff is fixable, while if anything else goes wrong I'd be boned? 3) The one I truly want is the Shuriken. Would love to have one of both scale lengths; however, there's none on sale here nor any that I can find that ship here. Would the shuriken be worth the wait? say, i took a trip to the USA come November/December, then brought back a Shuriken, would you advise just biting the bullet and waiting? Is there a big difference between the quality of tones from the older to newer variaxes?

I'm going to test out a BOSS RC 600 in conjunction with my POD tomorrow. The main thing I want to verify is that I can in fact send tempo info FROM the RC 600 TO the POD. I looked at both manuals, and from what I gathered, I go MIDI out from the RC 600 to MIDI IN on the POD, set the MIDI channels on both devices to 1, and the tempo sync on the POD to "Global". Is there anything else I need to do to make sure the POD is ready to get the tempo info? The RC 600 appears to not require anything besides making sure the MIDI channel matches. Here's its manual: RC-600_eng04_W.pdf (roland.com)

Hi there, I'm aware that we should be generally using our ears above all else, but I still like to know what consensus is on most things. http://foobazaar.com/podhd/toneGuide/quickGuide In the above guide, it reads: "You should use Studio/Direct if you want to use the cab/mic simulation provided in the Pod. This would be useful if you are recording directly to a DAW (and not using IR's in that DAW), running direct to the PA/mixing board, or are using headphones." This seems to imply that if you ARE using IR's in the DAW or an AMT Electronics Chameleon (which I'm considering purchasing) before going into the mixing board, that we should not be using studio direct. I assumed that one would use Studio/Direct with the cabs disabled; however, is the consensus to use "Compo Power Amp and Stack Power Amp"?

Away from my setup rn, but it says in the manual that you have to use both input jacks for stereo. No mention of stereo capability coming from a single cable. in this case, my best bet will be to use guitar cables from both outputs on the pod into both inputs on the rc-1. Then guitar cables from both outputs on the rc-1 into the soundboard for when I play live. Correct? so in total 5 cables ( guitar into pod, cables out of pod into rc-1, 2 cables from rc-1 into soundboard)

Went ahead and snagged a simple Boss RC-1. I'm amazed I just noticed this because I've used the FX Loop before, but I just saw you're supposed to use a TRS Stereo cable. I don't have one, but will probably order one in a bit. To make sure i'm understanding correctly: if I want to run the looper in stereo (I definitely want to make some stereo fx part of my loops), I'd run a TRS cable from the FX send to the mono input of the Boss RC-1, then use guitar cables with both outputs from the RC-1 into the FX return of the POD. Is that correct?

Played a gig recently. Had tinkered with the looper beforehand and felt confident. Played the gig, looped a progression, played my solo, then turned off the loop only to notice that there was something jarring occurring when I turned it off. i then went home and practiced looping in and out it, only to discover that I simply could not turn off the loop, and go into the next part without something weird happening. did muh Googles only to discover that the looper switched to mono. if I put an external looper in the fx loop, and used that instead, would that solve the problem? Would it present other problems that would make it not worth it? got another gig tomorrow, and would like to do some looping. Will go to the store and grab one, if I can use it in conjunction with the pod