lachinelli

I'm satisfied this problem doesn't happen anymore in my computer. As regards as to reversing or proving that this is the definitive solution; it's not my job, it's Line 6's job. Instead of criticizing, you should thank me I took the time to explain what was my solution to this problem. It would have been way easier for me not to share it because I already solved it in my computer. As regards to my profession, it's what puts money into my pocket.

I think I've found a solution to this. I've done 3 steps, and so far the DRIVER_IRQL_NOT_LESS_OR_EQUAL and SYSTEM_THREAD_EXCEPTION_NOT_HANDLED blue screens have disappeared. 1.- In Control Panel, select Sound and choose the HD500 (Or similar model) as the default sound device, for listening as well as for recording. Check that sample rate is the same you're using in your DAW. 2.- I have a desktop, so I plugged the usb port to the back. USB connections coming straight from the motherboard are more stable. I don't know if this step helped in any way, but I think it's worth trying. 3.- I THINK THIS STEP IS THE DEFINITIVE SOLUTION: These blue screens began to appear when I started working with Bandlab Cakewalk, but when I used FLStudio, they never occured. I've looked through thousands of forums and websites for a solution, but never found one. One day I noticed that when I opened Cakewalk, Windows 10 showed in the notifications panel below to the right that an application was accessing the microphone, something that hadn't happened when I opened FLStudio. When I double-clicked the notification, a Windows 10 panel opened where I could select which applications had access to the microphone, and I blocked access to all of them if I recall correctly, or at least Cakewalk. This procedure doesn't block or disables by any means any input in the POD that goes to the DAW, in this case, Cakewalk, since the inputs and outputs handled by the DAW are done using the POD ASIO driver. So, blocking the access to the microphone in Windows 10 doesn't disable recording using the inputs of the POD by any means, as long as the POD ASIO drivers are being used in the DAW. After doing these procedures I haven't had any other BSOD mentioned before. I suspect step 1 solved the DRIVER_IRQL_NOT_LESS_OR_EQUAL BSOD meanwhile step 3 solved the SYSTEM_THREAD_EXCEPTION_NOT_HANDLED BSOD. I'm into the IT business, but I have no way of proving which step was the definitive solution, or which is the real culprit of them, being Cakewalk or Line 6 driver. I suspect there's an issue with the latter when it's not the default audio driver or when an application is granted access to the microphone in Windows 10. I hope Line 6 notice this and fix the driver, since it made me lose a lot of time finding a solution, and I almost had to cancel the recording of my new album.

I think I've found a solution to this. I've done 3 steps, and so far the DRIVER_IRQL_NOT_LESS_OR_EQUAL and SYSTEM_THREAD_EXCEPTION_NOT_HANDLED blue screens have disappeared. 1.- In Control Panel, select Sound and choose the HD500 (Or similar model) as the default sound device, for listening as well as for recording. Check that sample rate is the same you're using in your DAW. 2.- I have a desktop, so I plugged the usb port to the back. USB connections coming straight from the motherboard are more stable. I don't know if this step helped in any way, but I think it's worth trying. 3.- I THINK THIS STEP IS THE DEFINITIVE SOLUTION: These blue screens began to appear when I started working with Bandlab Cakewalk, but when I used FLStudio, they never occured. I've looked through thousands of forums and websites for a solution, but never found one. One day I noticed that when I opened Cakewalk, Windows 10 showed in the notifications panel below to the right that an application was accessing the microphone, something that hadn't happened when I opened FLStudio. When I double-clicked the notification, a Windows 10 panel opened where I could select which applications had access to the microphone, and I blocked access to all of them if I recall correctly, or at least Cakewalk. This procedure doesn't block or disables by any means any input in the POD that goes to the DAW, in this case, Cakewalk, since the inputs and outputs handled by the DAW are done using the POD ASIO driver. So, blocking the access to the microphone in Windows 10 doesn't disable recording using the inputs of the POD by any means, as long as the POD ASIO drivers are being used in the DAW. After doing these procedures I haven't had any other BSOD mentioned before. I suspect step 1 solved the DRIVER_IRQL_NOT_LESS_OR_EQUAL BSOD meanwhile step 3 solved the SYSTEM_THREAD_EXCEPTION_NOT_HANDLED BSOD. I'm into the IT business, but I have no way of proving which step was the definitive solution, or which is the real culprit of them, being Cakewalk or Line 6 driver. I suspect there's an issue with the latter when it's not the default audio driver or when an application is granted access to the microphone in Windows 10. I hope Line 6 notice this and fix the driver, since it made me lose a lot of time finding a solution, and I almost had to cancel the recording of my new album.

Ok... now I got another BSOD "System thread exception not handled" Windows 10 1903, up to date drivers selected as default in Windows. Don't know what else to do...

Could be. I'll give it a try, now with Windows 10 updated to version 1903, and up-to-date reinstalled HD500 drivers. I'll try to keep the system light, without anything else open rather than Cakewalk. Also, I'll disable the network port. Hope this doesn't happen anymore.

You're right. Thing is that in FL Studio, both 4.2.7.7 as well as 4.2.7.6 seem to work fine, while in Bandlab Cakewalk, it gets the BSOD. I thought that the new update addressed these kind of problems with newer versions of Windows 10. What would be the point of releasing a new driver version then?

Sadly, I got this problem. It's the first time it happens after I've updated POD HD500 Drivers to 4.2.7.7. Also, it happened while using Bandlab's Cakewalk (latest version). I have all drivers up to date, as well as HD500's firmware. I'm using Windows 10 1803. So far it was working fine while using 4.2.7.6 drivers on FL Studio. I've checked Windows update and it's now available 1903 update for my system. I'll update and give it a try tomorrow, but I'm afraid it does nothing...

We're talking about the especific POD HD ASIO drivers which are written by Line 6. Sadly, I've encountered the same issue. EVERYTHING is up to date and working fine. What is causing it? When is Line 6 going to fix it? It was supposed to fix it with driver version 4.2.7.7, but it didn't....

Weird suggestion, but when I had set Studio/Direct output into a combo amp (by mistake) it sounded like crap. Of course, it was a preset made for other output mode. I wouldn't be too radical as regards as to the output. No wonder Line 6 made an output designed not only for each kind of amp (Combo/Stack) but also for the type of input you'll be using (Front: through the preamp of the amp, Pwr Amp: to the power amp section of the amp). If your amps are Combo, I'd select Combo Front as the output, as radacats suggested. He forgot to mention there are hi and low frequency cuts which by default they are at -50, cutting serious low and high frequencies. I'd start setting those to Flat and solve highs or lows problems from the EQ of the POD's amp or from the EQ of your real amp. Of course, what's been suggested in here is the best way to start a patch; clean patch and adding an amp. There are lots of tutorials on how to build patches or tones, and I'd suggest you go through them. It took me like 2 years to start making decent patches and changing my mind on how to build them. At first, I used to think I should use only pedals in the pod since I had a real amp in the end. But then I learned I was losing great tones by not using the POD's amps. Of course, when you use POD's amps with a real amp as output, disable Cab emulation (Which also disables mic emulation). It'll be kinda hard to work with a Cabless sound coming from the POD, but when you fine tune the sound you aim for, it'll sound great. I know the HD500 is kinda hard to use, but I've found the good things this board can give. Previous to this, I only recorded guitars micing my amps in my home studio, and I'm good at it. But this board was good enough to make me record my latest EP using amp/cab/mic emulation and no real amp or real micing. Also, the good thing is that if you can get the grip to this things, it's almost limitless in the variety of effects and amp combinations you can get, something that you may feel limited if you trade it for just a couple of stompboxes.

I used to have the same philosophy as regards to building patches the first months owning the HD500. Since I have amps, I always used effect processors with my amps for rehearsals, live or studio. The chain was only effects and I thought everything else was useless. But I think you should change your way of thinking as regards to this. You have no idea how good amp emulations sound. I first changed mine when I decided to record my new EP by emulating everything (amp/cab/mic) instead of micing my real amp. I'm into Metal mostly, so in that way I learned how good the distortion of high gain amps is, compared to pedals in the POD or my real amp's distortion. Then I started making patches using the amps distortion. You can make the best of the POD by using amp's emulation but disabling cab (thus mic) emulation. Send the output of the POD to the power amp in of your amp, so then you use the POD's amp EQ and sound features. Set the 1/4" output of the pod to "Line", so the signal goes preamped. I think Line 6 has recently released a simple multi-effect processor to use along an iPad, if you're looking for something simpler, or as someone mentioned before, an M13 which is a stomp pedal modeler. I consider the HD500 a pro unit. Perhaps is not as good as or complex as an AXE FX, but definitely has all the options and features I look for to use with my live band in rehearsals, live shows or studio. Besides I also have a personal project which songs are recorded at my home studio. Believe me when I say I was against line or modeled recording (I used to love getting different tones by using different real amps and microphones), but the POD made me record my last EP completely modeled. The tool you have is that good.

Besides having a good selection of drive pedals, the pod also has excellent high gain amps to choose from. When I got the POD, I used to think I should make pedal-like patches since I was using a real amp for live sound, but now my patches have amp emulations and distorted patches use high gain amps instead of pedals in the POD. I use them combined as well (Screamer+high gain amp) and it sounds even better. Still, if you prefer to use external pedals, there's a loop available in the POD, so you can connect anything you like and add it to the chain within the POD.

1.- When I had a Korg AX3000G, each song had one bank lollipopigned. 4 combinations were enough back then, and when less, I just repeated the last preset from left to right. Currently, I use the same method in the pod, but I feel I'm wasting lots of preset space using this method. Still, I only use 3 setlist effectively; 2 setlists with the same presets but tweaked for 2 different amps and one setlist to work with my monitors. 2.- By having each bank lollipopigned to one song, I don't mind if we don't play songs in order. Changing banks is not that hard, and even if I'm the singer of my band as well, I can manage between songs and still talk to the audience. 3.- Setlists are lollipopigned to the type of output I use. As I explained above, I have one setlist tweaked for a combo amp I use at home and rehearsals, and another tweaked for a live stack amp I use on stage. The 3rd list I use is tweaked for my studio monitors. Edit: You should revise your forum rules as regards to the word asign with 2 s. Replaced where lollipop appears should make my text have sense.

My HD500 works fine and all and I know the 2 differences between HD500 and HD500X. I hardly use dual-amps but I was interested in knowing if footpedals on HD500X endure better. It's my belief that the changes are only aesthetic; just more light, different footswitch but the microswitch in the board is probably the same one. Does anyone know if footswitches are actually better?

Cada vez que se actualiza el firmware del POD, hay que resetearlo y recalibrar el pedal para que no suceda esto. Primero que todo, hacé un backup de tus presets. Después, siguiendo los procedimientos que podes encontrar en el knowledge guide, resetea el POD a su estado por defecto, y después procedé a recalibrar el pedal de expresión.

I guess you've been lucky; I had that feedback issue happen 3 or 4 times in the 2 years I've owned the pedal. I'd say it rarely happens and when it does, you can get rid of that by changing patches. That's why I've played live with the POD, otherwise, if the problem was persistent I wouldn't have used it live. But the thing is it will happen sometime in the future so I'd recommend you update following all the procedures (backup, update, reset to default, calibrate pedal) so you don't have any issues.

See if you have to enable S/PDIF in 003 rack. Also, set the POD to 96 khz. I only get crappy unsynced sound when I set it in lower sample rates.

I see that it's been suggested that XLR or 1/4 would be good if the preamps in the studio are good. I'd only suggest this method if the preamps were high end tube preamps, and the signal were coloured in a very pleasant way. Remember that in this way, double conversion still occurs, so it means you're losing information and there's data degradation at some point. What you can do at the studio is the following: Connect your POD via S/PDIF and also one of the XLR or 1/4 outputs to the preamps of the interface. Remember that if you're using the 1/4 output you'll have to put the output switch into "Amp" if you're sending it to the preamp input, that is, like if it was connected to the input of an amp. The logic is that in "Amp" mode, the signal is preamped by the amplifier or in the studio's preamp. "Line" setting is for when you're sending the output to the Power Amp stage of an amp, which means the signal comes out preamplified from the POD itself. So remember to set this in "Amp" or you'll most likely overload and clip the input of the studio's preamp. I used this method at my home's studio for my last record. I was recording 3 tracks all the time; S/PDIF track, and the two 1/4 outputs going to 2 different preamps with different 12AX7 tubes, which gave different colouring to the sound. I finally decided to use S/PDIF tracks for my songs since they sounded better to my taste. The tube colouring wasn't worth the loss of data, and if you can build up a good patch in the pod using every tool you have in there, the signal will come out great, and will probably only need a just some EQ to fit the whole mix. In the last songs I didn't even bother connecting the preamps so I just recorded S/PDIF.

Saw that last night in the troubleshooting guide. Did that and luckily I got no red bars, even if my place is surrounded by wireless routers :)

Luckily I've always found 3 green bars most of the time at rehearsals or in my place. I've checked distance (without a guitar plugged) and it's fair, depending on the channel and the intensity of Wi-Fi channels that are supposed to interfere on it. When I have a guitar plugged, I can't check if there are red LEDs when I'm playing since the transmitter is in the belt, on my back. But according to the receiver, the signal is good, and so far it's been at rehearsals or at home. The stage I'm performing on this Sunday is fairly large, not as big as in stadium concerts but definitely not as small as in bars/clubs. I'm not planning to run all over the place, and I'm the main singer of my band, but I want to move to the center, near the crowd, the side or the back without worrying about rolling the cable or tripping with it. I'm confident about it and I'll scan which Wi-Fi channels have more interference before the gig so I set up the G30 channel according to the channels chart specified in the Knowledge Base.

Some weeks ago, maybe a month ago, I aquired a Relay G30 set. Since I live in Argentina, I'm not quite sure if they are just out of the oven. Since I have an important gig this Sunday, and I bought the G30 specially for this type of gigs and I wanted to know the firmware version, so I could use it in RF1 mode (I've read it's safer). I made the 1-6 x3 switch change but I've only got a 1 green blink response, which is no different than what I get when the switch reaches to 6 or 1 in this process. I've made this several times, with the receiver turned on and off as well. If I should trust the results, it seems my G30 has firmware version 1.00, but I'm not quite sure. Is there any other way to check the firmware version? So far at home and at rehearsals it has been working excellent, and I wouldn't want to change to RF2 accidentally so I haven't followed the RF change process. I also check for Wi-Fi routers with my smartphone to select the channel I'm going to use to avoid interference, according to the chart given in the Knowledge Base.

I'd say S/PDIF. Eventhough A/D conversion will still occur within the pod, it could benefit from less latency from the studio's interface. If your POD doesn't have a S/PDIF output I'd suggest USB because it will still go digital inside the studio's DAW. The only downside is that the engineer will have to agree on installing POD's ASIO drivers. Don't use the XLR or 1/4 outputs because double conversion will happen. That is, your guitar's signal will be converted to digital when it enters the POD, converted to analog when it goes through the XLR or 1/4 output and then again converted to digital by the studio's interface.

I use a transistor amp head and a 4x12" cab in my live rig. I do use amp emulation but I've disabled cab emulation. I use only the Power Amp stage of my amp, and try to send most of the sound of the emulated amp, which in most cases is the Dual Rec. I know it'd be just great to go to a gig and only take the POD and your guitar, completely relying on the venue's PA, but I have two main problems. Whenever I've tried to make it sound good through the rehearsal's PA, (Which we use for vocals), I never could, so I wouldn't venture going to a gig and expecting to sound great. I go with what I know it sounds good, and that is what I explained in my first sentences. The other problem is that I have 8 banks for my band only, so imagine the PA's engineer asks to cut highs or lows from the signal...I just can't. I've even had that asked from my amp, which sounds great to my taste after countless hours of tweaking, and I tell them to deal with it from the mixer. I'd like to read more from musicians that have found a way to rely on the PA only, that'd be just great. I know I should resume my patches in no more than 2 banks too.

Basically, Edit is a spine saver. After years of owning a floor processor without the ability to connect to a pc, the POD is a blessing in that sense. Of course there are some things you can't edit like the system settings, but that's something I choose before even plugging the POD to the PC, that is the output mode (Whether I'm working with the monitors or with an amp).

ASIO4ALL are ASIO drivers meant for regular soundcards without native ASIO drivers. The POD is an interface itself with native ASIO drivers, therefore you don't need to use ASIO4ALL at all (When using the POD of course). What you should do is let Monkey install latest Line 6 ASIO drivers and after opening FL choose Line 6 ASIO driver in the Sound Options.

Worst case scenario is that having an account with the POD serial number registered will help you in getting a ticket from Line 6 support. It's always good to have the things you bought registered with your name.