pfsmith0

For starting out I found the HD Edit PC software to be a great help. It is much easier to see what's going on graphically. Can you get that installed and working?

+1. There's no getting around the short mute when calling in a new patch. You'll need to find a way to get your tones from a single patch. So far I've been able to achieve this with work and time.

There are other uses besides pure FX. For example, for my ukulele I have a a switchable gain stage (for those screamin' uke solos), a low cut (since a uke has no lows I want to attenuate anything the transducer is putting out down there, which is usually ambient/venue noise the uke soundboard picks up), and then about 4 EQ filters set at various frequencies to cut the natural resonances that tend to feedback. That's 6 FX blocks right there. But, yes, I guess 8 is enough for me, too.

rd2rk, i have not yet testing any of the output signal paths, only SPDIF. Well, I DID check gains and clip levels here, but I didn't look at quality levels (noise and distortion). From previous experience I know that the fewer data converters you use the better the sound quality, so I try to give the HD500 the best chance of being good as I can - which means using SPDIF whenever possible. Good luck on your troubleshooting.

I also use it frequently but I don;t think I can help you. Mine worked fine on first connection so I never had to debug it and learn any nuances to using it.

Are you all sure about the HD500X having more memory? I thought it was just a faster DSP since they couldn't buy the slower ones anymore. Faster DSP = more horsepower so you can load it up with more stuff before running into the DSP limit. This could be significant if dual-amp tones are used. Looking back at several discussions I see no mention on more memory.

Sometimes I use the Studio EQ (with all filters set to flat) with 5dB gain I turn on/off during solos. It adds no coloration. Sometimes I use the Mid-Focus EQ to boost only the mids 5dB if I need a little coloration. I use the XLR outputs to connect to a PA so I don't use only the modeled amps, in case that makes any difference to you.

I'm assuming you're happy with the sound of the Combo amp and don't want to mess with that. Do you want the same HD FX on both amps? Do you want to use the preamp of the 2nd amp? The answer to these questions will help guide our recommendations.

In Edit, make sure "Guitar" is selected as one of the inputs.

FYI, in case anyone's interested the EQ frequencies Peter Hanmer uses in his video tutorial above are: JCM800: 82% = 2880 Hz 85% = 3110 Hz Plexi Lead 100: 80% = 2730 Hz Cali Tread: 84% = 3030 Hz These can be found in the Parametric EQ Frequency PDF located here.

The RME is the audio interface for my home recording studio. I got it mainly for it's clinical mic pres and reliable USB drivers. I had that before I even thought about getting the HD500. The weakest link in any digital system are the data converters (weak link = less transparent, more noise and more distortion) so you will generally want to minimize as many of those as you can. If I used the XLR connectors I'd be going through 3 converters: Guitar In, XLR out, audio interface In. With SPDIF I only go through 1 set: Guitar In. That's the primary reason I do that. The second reason is I have an SPDIF available (actually it's AES) so I use that instead of tying up two of my mic channels. A third minor reason is cable clutter. Only 1 thin SPDIF cable is required instead of 2 thicker mic cables.

No,wait! I see "edit" now. Done.

Nope, I can't edit that post.

Yes, I should go back and edit that. Let's see if the system will let me...

Yes, I record with the HD500 all the time. Guitar -> HD500 -> SPDIF -> RME Fireface UFX. It works very well once you get the sample rates matched.

At some point I may add more amps, but I just don't have the time at the moment. Got a new puppy and I'm a little overwhelmed with how much time she takes.

I thought about including preamp measurements but there was just too much data to be taken. And I didn't even get to ALL the amps.

MartinDorr, you are correct that these graphs/measurements are mostly valid for clean tones. If you increase the drive control then, if I'm reading the companion thread correctly, the bass, mid, treble controls shape the signal before the drive circuitry while presence shapes the signal afterwards. They will have different effects and will sound different.

There was a recent (now deleted) thread discussing what the Presence Control does and how it may enhance the sound. In an effort to add something productive to the discussion and to document how the various tone controls operate, I took my HD500 into the lab and measured the Frequency Response of various amplifiers. You can find the full report here (3M big, too big to attach here). A couple of points to note are mentioned in the front page of the summary as follows: Test setup: APx525 -> Guitar Input -> HD500 -> SPDIF Output -> APx525 Input level: -52dBV. This is very small but was required to keep the high gain amps in their linear region. SNR was still better than 60dB. HD500 settings: Inputs: Guitar/Variax Guitar: normal Channel Volume = 100% E.R. = 0% Drive level adjusted to give the best THD+N (usually below 0.2%) for the cleanest looking graphs No cabs (and therefore no mics, no Cab DEP parameters) Amp DEP settings: Master Volume = 100% Hum = 0% All other controls (Sag, Bias, Bias X): default values (50%) Tone controls were set to give the flattest reasonable response. As one control was varied, the others were kept at this “flat†setting. This doesn't represent a setting that necessarily "sounds good" but it provides a good starting point for comparisons. Also, the low level input allows the underlying frequency response of the amps to be seen. For larger signals, like guitar level signals, distortion terms will become more noticeable and add more high frequency content, perhaps making the amp sound different from what you may expect by looking at these graphs. So, use these just as a guide. Or use them to figure out what the controls do. Some are cuts, some are boosts, some are both. Some operate over a much wider frequency range than you'd expect. And now you can see what the FAC control does! Finally, I did not measure the effects of how these controls may effect the dynamic response of the amp. Adjusting them might effect the "feel" of the amp. I do not know. These measurements will not tell us. Enjoy, I hope you find them useful. ----------------------------------------------- Edited Jan18, 2018 to update Dropbox link.

I's like to see emulated feedback like what Boss has. Play a note a hold, After a sec or so one of the harmonics swells loud just like feedback. Boss got that working pretty well.

Many of the EQ settings are not obvious. That's why I measured them all and posted the response graphs here. Maybe they would be helpful to you.

The KK Trinity Solo Mini uses a stereo TRSS 1/4" jack so you'll need an adapter to split the stereo signal into 2 unbalanced mono signals per space's comments above. The transducers will need to go into the guitar input using the highest input-Z setting on the HD500 (3Meg?). The mic will either go into the Aux input (if its signal is high enough, but I doubt it) or the XLR mic input via XLR-1/4" adaptor. Then adjust the mic level input to get the balance you want. You can also pan the Guitar/Mic inputs L/R to keep their entire signals chains and FX separate and rout them to the L/R stereo outputs. The signal chain would look like this: Trinity pickup -> guitar stereo out -> adapter to 2 mono signals (prob 1/4" & XLR) -> 2 HD500 inputs (prob Guitar & Mic) -> 2 separate A/B signal chains -> stereo output

Yes, that would keep the HD500 from clipping as easily.

There's nothing inherently wrong with stacking the Studio EQ. I use 5 of them (!) for EQing my banjo (there's a banjo joke in there somewhere - how many EQ's does it take to get a good banjo sound?) but I only cut frequencies to tame feedback. I don't do any boosts except for a flat global boost when I switch to a solo when needed. If you're getting distortion you may be hitting the HD500 ceiling. I sure wish there was a level meter FX block we can move around so we can see signals levels at various points inside the signal path.

I'm sure the P1s will work just fine. We just use some generic headphone driver. I don't even know what it is. Regarding number of drivers, you can think of it like this: single mid-range: 80% of the sound dual bass/tweeter: 90% of the sound triple bass/mid/tweeter: 95% of the sound quad bass/bass/mid/tweeter: 96% of the sound I personally wouldn't pay for the quads. The extra bass is minimal and largely a marketing ploy. They don't extend the bass any lower, which is what you want. In essence they EQ the sound so there's more of what bass is already present in the triple driver system. That is, they no longer have a flat response. If you want more bass, get Dr. Dre Beats. They're cheaper. In my mind the sweet spot (biggest bang for the buck) is the dual-driver. A few other things to consider. Shure systems are black and can look funny in the ear. Westones are clear or tan colored and are much more subtle. Also, even though a large part of the comfort is in the foam plugs themselves, these are usually interchangeable between the companies. So don't let those be a large part of your decision. However, that cables are another aspect of comfort and, in my opinion, the Westones are far superior to Shures. Be sure to check those out. Full disclosure, I work for a company that makes the drivers that go in these. Shure, Westone, Etymotic, Rock-it, etc buy our drivers and wrap them in the ear piece, tune the port, and add the wires, etc. But, hey, if you want to buy the quads then go ahead! It's more sales for us.