innovine

My cheapo generic has no trouble doing sysex dumps to/from my td12 and my access virus, yet won't work with dt25. There's nothing wrong with the interface that I can see, if you can recommend some kind of midi compliance test software I'd be glad to give it a whirl.

I dislike the phrases 'good interface' and 'known good' interface. This makes it seem like its the interface which is at fault. It is not, it is line 6 monkey and/or dt amp which are at fault. I have two usb midi interfaces, both work flawlessly in every situation (including complex sysex dumps to transfer patch banks between synths and host and back), multiple devices, mtc and clock sequencing, heavy midi traFfic loads,.. basically anything I can throw at them. But one never works with the dt amp, the other works in windows l6 monkey but not on mac l6 monkey. Please be fair and put the blame in the right place; line6 monkey is bloody awful and very finiky. Instead of calling it a 'good interface' how about the term 'interface whigh can handle line6s non-spec crappy midi implementation'

Haha, oh, Internet. Sigh.

4cm is noisier. Use L6 link unless you have a very good and clear reason not to. I think you might be imagining a difference in the effects, or else you've gotten the different gain levels incorrect somehow.

See also the latter parts of this thread: http://line6.com/support/topic/5810-dt-25-effects-loop-bypassed-when-using-xlr-out/

The master attenuates the signal before the effects send. If you monitor the level in the fx loop you can see this take place. The fx return goes straight into the power amp and is always amplified to the max. The master volume isn't really a master volume as I'd think of it. The power amp is always amplifying by the same amount (maximum), the master just reduces the signal received by the power amp. Class a might behave differently, I don't use it much so don't know

In the most sarcastic tone imaginable, 'if it sounds good it is good!'

Disabled within first 5 mins of owning the device. Forgot it existed until now. Will promptly forget again.

with the pod connected via line6 link, try changing the output modes and testing to see how they sound, and return to combo pwr amp again. I did this and my bad sound problem vanished. Bit of a long shot but if you've tried everything else..

Is there anything like the BeatBuddy, but using software?

When you have sockets on a machine, it's easy to label them with their function, IN, and OUT. But when you have a cable with midi on one end and usb on the other it's not so obvious. In this case, it's telling you what's on the other end of the cable, ie, the midi plug with OUT on it is carrying the OUT from the usb port, and would have been connected to the OUT on the computer if you were using a traditional midi cable... By the way, I have two midi to usb cables, and one labels them this way, and the other labels them the opposite way, ie with where you are supposed to connect them to. *facepalm*

I do not think that this is the case, and would appreciate it if you can provide some concrete observations as to why you think it so. Consider the following: the FX return is always amplified to the amps max volume, irregardless of the position of the dt master (which can be fully down!!), so the signal chain is (at least): preamp (pod or dt)->dt master (attenuating a ~line level signal)->fx send->fx return (still line level)->power amplification->speaker You can check this if you like by monitoring the level on the fx send.. it will go up and down as you turn the dt master volume up and down. So, what I think is happening here is that the amount of power amplification is never changed by any of the controls. The power amp just takes whatever signal it receives, and amplifies it to the max. If the signal the power amp receives is low (master volume is down) then it amplifies cleanly. If the signal it receives is hot (master volume is up a ways) then it will start to distort and distort more the hotter it gets. So I guess the headroom is fixed at a particular decibel level, and has nothing to do with the position of the master. Of course, there may be class A and A/B differences, and there can easily be a degree of digital tube distortion being applied at any point, so I don't know the above for sure. But there are some easily observable facts mentioned which I encourage you to consider. Also, if I have made any errors or my ideas can be refuted, please feel free to do so in the spirit of understanding this thing. I am _so_ going to hook up a sine wave generator soon and measure the total harmonic distortion levels at different positions of the master(s). I'm moving out of this apartment in June and will relocate my studio from living room to garage and can then conduct tests with the amp cranked. Can't wait :)

The sad truth is, no one really knows how any of it work. I'm of the opinion that the channel volume attenuates the signal after the preamp, then come possible effects in the pod, then the pods master, then the l6 link, then the dt25 master. There is some evidence to support the idea that the power section is always running at max, and to get that tube sound, you just need to feed it a louder and louder signal, so it wont matter a whit which master knob you use. Personally, I have not been able to hear any difference at all with the pod master up, and the dt25 master down, or vice versa. I believe that the only way to get 'tube tone' is by pushing the output, ie, having it LOUD. Opinions differ on this, but personally I don't think there's any magic tube tone at low volume levels. Searching on the forum will show up plenty of speculation on this. In the end, you'll have to make up your own mind on it. Some people claim they hear differences. I think it's wishful thinking. in my description of how i set the levels, i mentioned adjusting up and down a bit with the pod master. this is because i find it is often easier to reach, not because of any technical or tone reasons

I do like this. Set the pod master volume in the middle somewhere, with the channel vol a good ways up, then set the dt25 master for the final level you want to listen at. Now, if its a bit quiet or loud, there's room to adjust with the pod master. If you have level differences between patches, use the channel vol to even them out since thats saved with the patch. If you are going to record with the direct out then the setup might be different but the above is working well for me anyway

1 when I turned the ampeon, I was in ab, and clearlyeheard something was wrong. Whenei switched to class a, the tube started glowing red 2. Master at about 9 o clock 3. Don't know, tube failed before I measured the bias

Here is the results of a test. I'm using very new JJ el84s: Blackface Dbl Nrm, class a/b, pentode, Drive 10'o'clock, channel volume at max, master volume at max, nothing connected to the input, no line6 link. I need to put my ear to the grille cloth on the front of the amp just to hear anything at all, and even then its the faintest hiss. With the drive at 12 o clock I can start to hear the hiss, but stepping away from the amp this gets lost in the background noise from computer fan and traffic outside. Treadplate, class a/b, pentode, master volume maxed, channel volume 50%, drive 9 o clock, nothing connected to the amp. There is noticible hiss from a few feet away. Notice the reduction in channel volume AND drive, and it is still much noisier than the blackface. With just a 1m guitar cord inserted, I can hear a lot more noise on both amp models.

How are you measuring this latency, exactly?

They look like illuminating tampons to me.

Some more questions, is the dt25 connected with midi, and is the pod connected via usb to a host and do you have the editor programs open? If you only use the 500x, ie guitar->500x->speakers/phones do you still get the problem? My guess is still noise or dodgy contacts on the l6 link...

Doesn't explain why his amp goes silent though.

I had a lot of hiss with mine, even with low gain amps and the master fully down. I replaced the tubes with jj's and now its deathly quiet... can't hear that it is on until I touch the guitar, and then it kicks in way louder than my acoustic. I've actually left it on by mistake, its so quiet now. Its almost like having a noise gate on, compared to the stock tubes. Never had any hum though, just hiss.

Tried a different link cable?

Because they can barely even get MIDI working on the DT, and USB is a much more complicated protocol? I would assume they just couldn't be bothered. What I wanna know is why the POD can send midi in/out its midi ports, but not over USB.. that's plain retarded, and the only reason is 'can't be bothered'. I wanna control looper software with the pods footswitches, but to do this, I need to use a midi->usb cable, which costs extra. A cost which Line6 transferred to me when they thought it was enough to just add midi ports to the machine so they can write 'MIDI compatible' on the spec sheet and marketing blurbs, and save themselves the week or two it'd take to implement midi over usb, and in so doing, make something actually useful. My more cynical view is that they named their connectivity software after the poor creature who coded their drivers, usb and midi implementations. I've built my own midi devices and also implemented midi over usb, so I feel qualified to speculate.

Are you sure you are not mistaken? I am most certainly not hearing any fx loop action on my direct out in LVM mode and in standby. I am using a DT25 with no pod connected. guitar -> dt25 in -> dt25 fx send -> dist pedal -> echo pedal -> dt25 fx return -> xlr out There is NO dist or echo in the signal (and i can even disconnect the input to the dist pedal), makes no difference when the amp is in LVM and standby

I bought B2031A's as my first monitors. They were a bit cold and lifeless. One failed after about a year, just something in the power supply made a Pop! and a burning smell. The second failed after another 6 months, I just turned it on one day and it was totally dead. Both lasted just long enough so they weren't under guarantee anymore. My Behringer 1832fx mixer suddenly died after 3 years of sitting on my table. Two of the channels were dead at that point. All my non-behringer gear is in great shape. DO NOT fall for the 'Well, it's cheap, so I'll buy another if it fails!' scam that Behringer survive upon. You'll just suffer for years with poor sounding gear that eventually craps out at a bad time, then you'll suffer through another few years of the same bad gear all over again. Behringer is not money saving, it's cheap, nasty, junk. Generally speaking, the more expensive gear holds its resale value much better (no one will buy used behringer). Since basically everything in your studio will be going through your monitors, do not be afraid to invest heavily in them. The only piece of gear in your studio which will get more use than your speakers, is your chair, so invest in a good one of those too :)