
rd2rk
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Everything posted by rd2rk
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Basic 4cm: Guitar->POD Instr Input->POD FX/Amp (pre fx loop)->POD FX Loop Block->POD FX Send->Amp Instr Input->Amp FX Out->POD FX Return->POD FX/Amp (post fx loop)->POD 1/4" Out->Amp FX Return If that's in order and you're sure your cables are good, refer to Pages 55-56 "FX Loop" in the POD HD500 Advanced Guide. If that's all good, you maybe got a problem.
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Silverhead - Have you actually tried the S/PDIF suggestion? Because as far as I know from using the S/PDIF with my M-Audio Fast Track Pro (which died, so I can't try it just now), the same signal goes out the S/PDIF as goes out the XLR and 1/4" outs, just without the additional AD/DA conversion. Unless there's a switch in the settings that I missed? The way I do what OP is asking is with an A/B box, one out to the POD and one to the Interface. The passive LiveWire ABY has a 1meg input and runs $50. The active Morley has 2 (1meg) inputs/2outputs and goes for around $85. What I like about the Morley is that if you have a Strat and a Les Paul you can adjust for the difference in output levels. He'd still need to upgrade the interface, but could do the deal for under $300 (USB2.0/4 inputs and no S/PDIF). EDIT - then take the XLR or 1/4" outs from the POD to the interface for the wet signal.
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Give me a real email and I'll send you sysex. Can't upload those here. It's basic, Stomps control FS1-FS5 on the lower row. Program Changes on upper row. PC# 0-63 will cover one POD bank, whichever one you manually select, on FCB/UNO Banks 00-02.(12). Set the POD for MIDI Channel 1. I'll send the file as .lgp for Control Center and .syx which will hopefully work with either the Ed Dixon editor or Ripwerx. I say hopefully because I've had mixed results with exporting from Control Center for use with those programs, seems to depend on the interface? Anyhow, I tested it with my HD500x and it works, so you should be good to go. Oh, yeah, remember if you're using the expression pedal you'll need to assign one of your Stomps to turn the device on/off, as the FCB has no Toe Switch.
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You could do everything from an FBV. Or, if fx control is all you need, you could control all 8 devices from either an FCB1010 (cheap), or a Voodoo Labs Ground Control (not so cheap) or any other MIDI controller ranging in price between the two. Anything that'll send CC#s will work.
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Here's your problem. The POD can contain 512 presets - 8 Set Lists times 16 banks of 4 presets. Your FCB in stock configuration can recall 128 presets. With UNO in Stompbox mode that's reduced to 95 presets. 95 presets is less than 2 Set Lists. Not to mention dedicated buttons for the Looper and Tuner. I could likely help you configure your FCB within those constraints, BUT... Having used the FCB for many years, and owning a POD HD500X, my advice to you is to sell the FCB (or use it for something else), and buy an FBV. It's the right tool for the job.
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- pod hd pro x
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The way I used to do it is to put the guitar fx and amp in one path, and the mono out of the bass fx unit into the aux input. Set both for guitar. Be sure not to put anything before or after the split. Pan the mixer hard left for guitar and hard right for bass. Take the outs from either the 1/4" or xlr to their respective amps or channels on the board. I think you also have to make sure that the last device in the guitar path is not stereo. I usually put either a compressor or a noise gate there, but I guess any mono effect or the amp itself would work. I stopped using this scheme because it means you can't use dual amp or stereo setups. I got an interface with a s/pdif input and run the guitar and bass separately into the interface. If your bass fx unit is digital (has it's own ad/da converters) that could result in some high end attenuation (some will argue that, my ears say yes), but that's not as important for bass as running the guitar signal from the POD analog outs into a regular interface (a second ad/da conversion).
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FR - FULL RANGE - the full range of human hearing (20Hz to 20kHz). FR - FLAT RESPONSE - the original signal is not "colored" in any way by the equipment used to reproduce it. If this quality of equipment existed in the real world, there wouldn't be 10,000 different FRFR solutions available. Knowing people, it would probably be the one that most think sounds like crap. The best you can do is try out as many of these systems as you can find in your price range, and get the one that sounds best to you. I settled on the KRK ROKIT6 for studio monitors. I can't afford a LIVE FRFR solution, so I just go thru my Blackstar HT5C (has a 'HiFi' type power tube, not any of the standard guitar amp tubes) in 4 cm configuration using the POD full amp with no cab in Studio Direct mode (sounds best to me, YMMV). I use that as a stage monitor (we're not too loud) and send a direct and a mic'd signal to the board and pray the sound guy doesn't f it up too badly. Odds are, whatever you hear in your headphones (try out as many of these systems as you can find in your price range) won't be what you hear in your stage system, nor will it sound the same when comes out of the FOH speakers. Remember that what sounds good to me (and you) will be different from what sounds good to everybody else on every other forum that you visit. Unless money is no object, the best you can do is try out as many of these systems as you can find in your price range, and get the one that sounds best to you (and expect it to sound different when you get it into your personal acoustic environment). In Summary: the best you can do is try out as many of these systems as you can find in your price range, and get the one that sounds best to you I keep repeating that because it's the only absolute answer to your questions. Good Luck!
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Not clear from the manual. If I plug a MIDI piano type keyboard controller via din plug into the din in of the helix, will the signals be passed "thru" on their own channel (kb on ch1, helix base channel set to ch2) via the USB connection?
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No. In fact, under Windows 10 and Sonar Platinum, I can't get my Fast Track Pro to work at all if the POD is connected. Even if I run my sims in standalone mode, no sound till I unplug the POD. Since I only use Edit when I'm making bulk changes, it's NBD for me, I just make minor adjustments directly on the POD. It would be nice, though, and if I happen to run across a really good deal on an old laptop I might go for it, doesn't take much CPU to run Edit.
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Simple answer - price. Encoders are more expensive both for hardware and programming. To make them really useful you'd need a ring of LEDs around each, which would also take up more real estate on the board. It would be nice, though, if you could lock the screen into the "amp panel" mode so that the setup would be visible as soon as the preset changes, instead of having to do a double tap on the joystick button to lock it in after each change.
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I've been running that setup (TRS-XLR) for over a year. You won't damage your monitors.
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Further clarification: OUT transmits only that unit's generated midi THRU transmits both that unit's generated midi AND anything generated upstream Thus, with my POD's OUT/THRU port set to THRU, my midi keyboard can be connected to the POD's IN, and at the DAW the kb midi plays a synth while the POD's pedals control guitar sims. You're coming the other way, but same theory.
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All good, strayfalcon, best of luck. Just a heads up, "just startin" is a default member description. Forum member's names are on the gray bar at the top of messages. I am, yours truly and always, rd2rk!
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Since you introduced yourself as a "newbie", asking, basically, "Why use the expensive L6 stuff instead of cheap Behringers", I provided a lot of personal opinion unnecessary for someone of your extensive experience. So that noted, the simple answer to your question is "because the L6 stuff is specifically designed to be used with the HD". No, it's (the L2 and L3) not just an overpriced monitor. The DT is not just another tube amp. If you've tried them and didn't like the sound, then obviously the search goes on. In that case it's even more true that it's all about your ears, and if you've done all the required reading you know that a lot of the suggestions on Gearslutz and elsewhere you won't find at GC to try. A conundrum, to be sure. BTW - My statement about Behringer stuff was a statement of fact about the opinions expressed on most forums. I used lots of Behringer equipment when I did pro sound reinforcement, particularly in my smaller rigs, very successfully. But, fact is, not a lot of people are using Behringers as a FRFR solution. Whether that's an issue of perceived quality or actual sound I don't know. YMMV, as they say!
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Additional thought. I expect that Line6 will shortly be coming out with a new version of the DT amps for use with the HELIX. I'll be interested to see if it's also backwards compatible with the HD series. By that time I should have the bread to buy one or the other, which I will, because to me, what's going to sound best onstage is a good old fashioned tube amp, just like they used in the 70s, with the front end flexibility of the HD/HELIX technology, best of both worlds!
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By definition, "old school 70s rock volume" IS "insanely over the top"! That's why we loved it so! That said, here's a suggestion. Spend some time on gear/guitar forums. In addition to this forum, where everybody at least uses the same basic gadget, Gearslutz is a great place to start. Search for "frfr". After 15 minutes you'll realize that every man jack with a six string (or 7 or 8 or) has a different opinion on this subject. Through all of those opinions, one thread will be consistent. NOBODY uses Behringer speakers. Well, once in a while you'll run into someone, everybody else laughs at them. After you've read until your brain bleeds, go to your local GC and try out as many rigs as you can. Buy what sounds best to YOU. Odds are, when you've played a couple of gigs in different acoustic environments, you'll realize there's no "one size fits all". What sounds good to you on stage will sound different in the audience, and the sound guy'll more than likely make it worse. Welcome to the real world. "What sounds good to you on stage" is as good as it gets so get something that sounds good to you and pray for a good sound guy. Last thought, concerning "this forum, where everybody at least uses the same basic gadget". The Lt series speakers and DT series amps ARE DESIGNED TO BE USED WITH THAT GADGET! An everyday claw hammer CAN be used to frame a house. A professional house framer uses a framing hammer. They both hammer nails, but the framing hammer costs more. Why would a PRO use a more expensive hammer? Go figure....
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My M-Audio Fast Track Pro defaults to 16 bit when I use the POD's SPDIF output. My DAW (Sonar Platinum) shows Audio Driver bit depth at 24 in Preferences, but it's greyed out (I'm asking about this on the Cakewalk forum, but if you know...). Question 1: I was under the impression that the POD's SPDIF outputs at 24.Yes or No? Question 2: After reading tech stuff about bit depth on the internet until my brain started to bleed, the consensus seems to be that yes, 16 vs 24 makes a difference, but it's only detectable by uber audiophiles with super human hearing. The main effect is on storage space required for recordings, and CD's are 16 bit. Opinions?
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Shred - Since I still can't get ASIO4ALL to let me use any two of my several interfaces at once, I was wondering what a "TASCAM 1604" was, so I googled it. As far as I can see, it doesn't exist! I found this : "When the Tascam US-122 device is plugged in to a USB port, it appears on the USB bus with a vendor ID of 1604 and a product ID of 8006" in a very technical document about using the US-122 in Fedora with Alsa, but now we're out of Windows World and deep into Penguin Land. What exactly is a TASCAM 1604? Can you provide a link to info? Merry Christmas!
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DD - Realizing that I didn't really know the meaning of "commutative" (math is not my thing), I looked it up: "involving the condition that a group of quantities connected by operators gives the same result whatever the order of the quantities involved, e.g., a × b = b × a" You mentioned bit depth changes as a possible modifier of the digital signal. Subtle though it may be to the human ear, wouldn't the analog cable (quality and/or length) from the POD to the interface also influence the result of the second conversion vs the first? Might this be a reason why the POD includes the SPDIF option?
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Shred - You said you have a rack interface which you use WITH the POD via USB? I have a Tascam 16x08 and with my DAWs (Sonar and LIVE) it's either or. Are you running them as an Aggregate Device on an Apple system or....?
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The tally so far - One Nay, on purely theoretical (but seemingly logical) grounds. Oh, and, my ears heard the slight. But don't worry, DD, I have big ears, they can take it! :P See below for additional considerations. One "Mine sounds great, so don't worry about it." One "I dunno, but there must be a reason for SPDIF. I got it, so I use it, just in case." Not very scientific, but sounds logical to me! Additional Considerations: From the marketing literature of a $2500 Audio Interface: "Next-gen digital converters provide pristine sound and superior stereo imaging" Maybe there's more to this AD/DA thing than simple conversion of analog signals to zeros and ones? Also, why did the POD's designers bother to equip it with SPDIF in the first place? The HELIX has both SPDIF and AES/EBU. Somebody with better ears than me thinks it matters.....
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When using the POD as interface, it converts the analog guitar signal to digital (A/D) for processing before sending it to the DAW. It converts it back to analog when the signal is sent out the 1/4" or XLR sends (D/A). Something is lost in the conversion (A/D) and re-conversion (D/A). If this were not true enough for MANY people's ears, there would be no analog vs digital effects debate. So, it stands to reason that a further conversion (analog guitar to digital, digitally processed guitar to analog before out the 1/4"/XLR cable to another (not the POD) audio interface where it's converted back to digital for the DAW) would be one more generation of degradation of the original analog guitar signal. My M-Audio Fast track Pro has a SPDIF input. When I took the POD's SPDIF Out to the interface that way, it removed that second generation of conversion, and SEEMED (to my ears) to be more "lively" than when using the XLR to the interface, Using the POD as interface has the same effect as using the SPDIF send (to my ears), thus (seemingly) confirming my thoughts about the second A/D-D/A conversion. Anybody want to weigh in on this? Preferably from actual experience as opposed to "In Theory" or "Bro-Science". What do YOUR ears say?
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Balanced vs unbalanced in relation to noise is generally not a problem in cable runs under 20 feet - that's why I ran the tests using a quiet amp (Blackface). If your Rokits are going to be more than 20' from the POD, use a direct box, taking a short 1/4" (shielded) TS cable from POD to the Direct box, then XLR/XLR from Direct box to Rokits. If you're buying cables and not going with a direct box the ones I recommended will allow the most flexibility for future setups, at a great price.
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You can get plain TS to XLR cables, but I'd go with the TRS to XLR for flexibility - my mixer has balanced outs, for instance, so the same cables can be used both ways.