pfsmith0

I don't know for sure because I never looked at an M13, but I hear it contains the same FX as the HD500. If true (and I have no reason to believe it's not), the yes, those measurements are all applicable.

Also, the flanger will add unintended delay in it's path. When mixed with the non-flanged, non-delayed path you'll get an unintended comb filter. For example, a 1msec delay will have a notch at 500 Hz (1/2 period = 1msec), which is right in the middle of getting in the way. Usually people put another FX of some sort in the clear path to help equalize the delays. Switching between paths A/B is not a problem, but mixing/blending the two paths IS a problem.

I believe this would work.

You can find frequency response graphs of the various amps here (model paks) and here (standard). I found the Class A-15 the flattest amp when its parameters are setup like this: Bass= 25% Cut= 70% Treble= 18% Pres = 40% Drive < 64% Turn Hum DEP to 0%, too.

I like to think of the Pre versions of the amps as just another color palette to choose from. Full amp or Preamp. Both with or without cab/mic. You can see freq responses and distortion levels here.

I agree it's most likely in an input monitoring/looping issue. It may be in the DAW and/or in the Scarlett.

The FX Loop is a good way to get different signals to the PA and guitar amp monitor. Put the FX Loop before the HD500 amp sim and send it to your guitar amp monitor. Using a Y-cable, loop it back into the HD500 FX Return so the signal will continue thru the HD500 amp sim to the XLR output. Set output mode to Studio Direct to get the proper XLR signal to the PA. I never tried this but it should work well, although any FX added after the FX Loop will only affect the signal going to the PA.

I'm a big, big fan of quiet stage volumes. Sound is so much more controllable that way. The FOH guy doesn't have to fight with sound from the stage that he can't control and I, as a player, don't have to fight to get the sound I need to play well. It takes a little getting used to but, in the end, I've found it so much better.

I get a 60 cycle hum when I plug in the USB due to ground loops. You'll have to figure out if your problem is a ground loop problem or an audio feedback path problem within your DAW/OS. Ground loop: unplug your guitar. Leave no instruments plugged into it. Unplug everything else except AC power and USB cable. Go into the HD Edit software and reduce mixer gain to minimum. Squeal still there? Plug Pod into same outlet as PC to see if it changes. Audio feedback: do you hear the squeal when the DAW is not invoked - with just the OS audio playback/recording devices & mixer engaged? If not, then you'll need to mess with your DAW's audio routing.

Hmmm, if Line Monkey works then it's not a USB port problem. Have a you tried a factory reset by re-flashing the EEprom via Line Monkey?

Does the Edit software or Line Monkey communicate with the unit?

Yes, record the audio file with the looper (1/2 speed gives you up to 48sec of recording). Then, while the looper mode is engaged, you can start/stop it as you see fit. However, I believe most (if not all) of your FX buttons are restricted to looper functions.

+1 to pianoguy's comments about the input settings. Setting Input 2 to "Same" is a good way to overdrive your inputs (and generate bad overload distortion). One other point, if you have no preamp for your piezo acoustic then set the input impedance to the highest it can go (3M?). Those can sound really wonky/quacky/distorted when driving low impedances.

Hi Henry, When you plug only into one of the XLR outputs then you'll only get 1/2 of the stereo signal. That may or may not be a problem for you. I do it all the time (since I only have 1 run to our PA system). If you're last FX sums to mono then you know you won't be losing anything, but I don't fret about it. It works good enough for the audience. If you DO decide to use both XLR outputs, do not connect them together into a single line to the PA. You'll need to run them both into two PA inputs. Regarding changing volume without affecting, the best was is to manually adjust the Master Volume control knob on the unit. I often have to do this to give the PA the level they want. Regarding keeping the volume the same between patches, that will have to be done within the patch. The Studio EQ has clean gain. It won;t change your tone any (unless you start using the EQ part). A word of warning. Whenever I adjust the patches via headphones (which I assume you use since you have no amp or speakers), it never sounds quite right live. I need to increase the "dirt". Subtle effects discernible on headphones get lost when playing live. The nuances are not nearly as important when playing live.

You could use the Studio EQ to add clean gain to the signal. I don't use Reaper but it may have an input trim control to add gain as well. But I have to say, a -10dB signal is really hot for recording. There's not much room for anything else (other instruments, EQ, expansion, etc).

Oh, one more thing, if the signal IS too loud, use the Master Control to reduce it to a more proper level. That should work for you.

Yes you would, as long as you don't overdrive your mixer. The signal available at the 1/4" output is much larger than the signal available at the XLR output, but the mixer XLR input is looking for a the lower level input. It should be obvious if you're overdriving the mixer (it'll be nasty distorted). But it might work very well.

If you take a look at my frequency response measurements here, you'll see that the PV Panama has a pretty severe peak at 2.5kHz on both the preamp and the amp. That explains the fizziness and clues you in on the best way to remove it (set the Parametric EQ to 2.5kHz (77%) with a Q around 50% or so).

No. IMHO it's best to set the Master Volume so the PA controls are set at a convenient level, like 0dB. That guarantees you're not clipping their front end and usually leaves enough headroom that the FOH engineer can tweak levels throughout the night as well as give you a little boost if needed for solos and whatnot.

If you pan 100% L or R you'll lose one of the XLR outputs, unless the mixer is early in the signal chain (which allows the mono FX to make L = R). But if it's early in the signal chain then you don't want to move it from where it is now since that may mess with the OD levels.

On Page 5 of the System Settings you can select SPDIF to output a wet or dry signal, so it is possible to have 2 different signals between SPDIF and analog out. But I don't think that affects the USB output, so no help there, sorry.

You'll find what you need here where I measures both the frequency responses and THD of the various preamps and full amps. The cleanest preamp is the Blackface 'Lux Nrm Pre. The flattest frequency response for bass would be maybe PhD Motorway or FlipTop or Divide 9/15. But the Blackface 'Lux Nrm Pre isn't all that bad.

I question whether there's really a difference with mic selection when the cabs are off. The HD500 uses a single IR for each cab/mic combo (if you think about it, that's the only way to get a measured cab response - by using a mic, simulated/calculated responses aren't very good and wouldn't be accepted by their customers, I can only imagine the outcry). When cabs are off then the IR is not used. Therefore there are no mics as well. This has been discussed previously in this forum. Here's an example. All that being said, when the cab is turned off, why would you can still be able to select a mic if it has no affect? I'm wondering if the "Air" convolution is still active. This would explain why some people claim to hear a difference with mic selection while cabs are off. I haven't yet heard anyone discuss this aspect. Regarding "pre" or "full", you can use either. Treat them as part of the palate of colors available to you. You can find some useful information here on various cab/amp/pre parameters. Some amps distort in the power amp section but some in the preamp section. So, you can get very different sounds out of the full & pre versions. Regarding which mode to use, the VST appears to have power amp models as well as cab models. I would think the Combo & Stack Power Amp output mode would be best. That's what that mode was designed for - plugging into an amp (either real or vst). Check page 2-8 of the Advanced Guide. But, there's no reason not to experiment with different options.

Here's an option to try - use the headphone output with a splitter/adaptor to bring out the L/R signals into different plugs. The headphone output has a gain control that will raise the signal to beyond the 1V required by the Art.

I measured that and reported it here. Line has a 6dB hotter signal than Amp. It changes the output level at the 1/4" output jacks. I assume line/stomp is the same (line has a 6dB hotter signal than stomp) and changes the levels seen at the 1/4" FX send/return jacks.