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Posts posted by bjnette

  1. I find editing on the HD easy.

    I agree there is a sluggishness using the edit softeware as the PC has to talk to the HD and it lags for a bit. But I have used it this way. It is just that I prefer to edit with my setup, setup. Might be different story if I had a laptop.


    As someone here said if you were given 30 Amps and 99 FX units you'd feel confused for a while. I think it is an Apt statement. After a year I am still discovering and creating.

    • Upvote 1
  2. Okay fair enough a Jazz Chorus can have pedals in front and even a rack of FX.

    I'm 54 and have had the HD 500 for about a year now and still love it.

    I have a few  Amps and  simulation software and while you can get some good tones from them I really like the HD amps and FX and midi change capability. Great box. Very creative.

    If I hook it up to my Fender Amp power amp and mic the result it sounds good enough for a record.


    I have been seeing some HD 300s go for silly money here used, About $220-$250. Less than a new Pocket POD.


    Gee one of the FX modeled hardware units comes in close to that.

  3. No that is fine. The JC 120 indicates you like clean and most likely into jazz. It is all you need. 

    I think the Roland Cubes have a JC120 clean channel. Lets face it some players don't need toys to get a great tone. it is in their style and choice of voicings.


    I am able to manage to get pretty good clean tones when needed from the HD but usually just go in direct via a valve preamp.

    I record my style is usually a clean rythmic guitar but as I like to get down a dirty for soloing the HD just lets rip in FX and Amp high gain and verbs(nice)

  4. It is a good question but most passive guitar electrics won't be a problem.


    By using your ears for active electronics and if it clips the input try going in the FX return.

  5. Okay, reply to my last post,

    Ideally the best gain staging is the earlier the item is in the chain the higher the gain should be.


    As you go down the chain the next item uses the least amount of gain possible otherwise by increasing the gain of the secondary pre amp to magnify the noise in the first preamp plus the noise in the later stages changes the tone.


    It can also exaggerate (by resonance in the circuit) certain frequencies in the treble.


    That is one possible explanation

  6. WARNING: Owning a POD HD could have you buying the hardware equivalents of your favorite amps and FX.

    Anyone going from a POD HD to hardware; should only stand as a testment of how well modeled the HDs are.

    What would be an interesting poll question to find out ?

  7. I'll check out the patches but thought I could help answer your question.

    I too have noticed that thru different PAs the tone sometimes was over bright.

    It wasn't until I experienced the same brightness into  a Tube amp that I realized that the 4CM

    worked the best using the power amp of the amp.


    Sure enough, this worked out with going into a PA. The best is to go into the an insert receive on a mix board and not thru another preamp and then a summing amp into the PA amp. 


    I have not run mic cables from he HD500 XLR outs and this may be the solution. If you are and it is still too bright, the only other thing to check is the toggle switches on the HD. 


    I hope you get it sorted

  8. The Crown  and the 4x12 cab aint too cheap.


    As it is theoretically a flat response amp Studio/line level should sound the best, but as the 4 x 12 will be bass heavy the Amp setting might roll off the bottom end a bit better. 

    Not too sure on the 300 but the amp setting probably is the signal without the Amp cab and mic modelling.

    It is what actually sounds best to your ears at some distance from the cab.

  9. One thing about the HD 500 is that in Line 6's wisdom to give us as many bells and whistles as possible we got some over complexities instead.

    There are too many variable for volumes in a patch and your question is one of the first inconsistencies you notice after purchase.

    The first error is to change the master volume to match patch levels but if your Amp is screaming your ears to bleed the master volume is your savior. But generally the master out remains at whatever level you set it.

    To me Amp tone is created via gain EQ and volume on the Amp block. Some claim that the volume does not effect the tone and this may be true for some but for me these are variables and work in combination to get your amp tone along with the sub menus.

    I prefer to use the mixer block in the amp block for volume matching. 

    You can download a SPL meter app for your phone or get a hardware version from RadioShack


    If you d'load some customtone patches then it becomes a hodgepodge of level mania. I have resorted to putting these patches in a setlist to try out, deleting unless I like what I hear(as there are some tasty tones and FX that I'd never come up with personally) I save to another setlist and  use the mixer page to match volumes with my other patches saving as you go; leaving the the Amp block and FX settings as they are.

    Of course you might tone tweak it further for your personal taste. 

    Occasionally you find volume created via FX like a compressor first up in your chain. You might need this for your tone and taming the output here might be better than internally clipping other fx down the chain. You do need to use your ears that is for sure.


    Ideally it is best to volume match in the same space with the same monitoring amp and speaker.


    Discipline yourself to work on a few Amps and FX first and get these working well with your setup. And, not be to eager to import a patch unless it has passed all your criteria before is owns a slot in your setlist.


    Testament to how good the HD Amp modeling is responding to every nuance from different guitars to different pickups selected I now rename a patch adding in the guitar and pickup I used. Bit of a pain but it really does answer the question why a patch can sound different when you have tweaked it to your liking and volume matched it some days ago. Ear fatigue is also a factor. The ear has its own built in way of limiting frequencies especially under high volume levels.


    Hope this helps. It is a workable way to get on top of it. There may be better ways to do it for you. It's what works for you in the end.

    • Upvote 1
  10. True the value of the HD500 has gone up slightly. Testament to something that your not using by the looks of it.

    The question is, how much for a ux2 and an M9 as what your essentially saying is that is all the HD500 is to you now, so financially 

    would you be on top to sell the 500 and get the others for recording?


    I would say if you plan on upgrading from the HD500 for an interface for recording it would be worth while. The UX2 while usable and cheap; is cheap in the pre amp dept. Noisy compared to Pro Audio Interfaces which some "mid weight, bang for buck" start at around the price of a HD500


    You can get all the FX you want in software and might not need an M9.

    If you are performing live and use some of the FX in the 500, the connectability, the foot switch and controller, I'd keep it.

  11. Good photoshop'ing!

    I just can't see them releasing a new model when for sound quality the HD modeling is really only beaten by Axe II or KPA. Roland/Boss and Zoom just don't get there like Line6 did on the Amp modelling.


    Perhaps a more ideal layout could be made as a new model but I don't myself buying the same in FX and Amp models. And there would be limited new buyer interest as we already got the HD's.


    If I were line 6 I'd make it more desirable to add the DT25/50 or full range powered monitoring to the exisiting products somehow.

  12. Well I can appreciate "Sonic Sketches" from a musical ideas and performance perspective. 

    It is musically very well played  on the first track "unexpected Complications" Not too hurty on the ears, okay  a bit brickwalled!


    Production wise, the mix reveals a better balance with  some added bass. If the overall balance included this extra energy while holding up when pushed without breaking up it would be a desirable enhancement.

    "Pheres"  clean and wet solos cut thru the mix middle solo is impressive against the heavy pulse.


    "D composed' sounded better with less added bass. That drum roll against the riff is stella!

    This production note is really only minor suggestion and could very just be my computer speakers, Edirol's.

    But my guess, the mix thru an ipod would lack bottom end.
    Probably splitting hairs here as the overall production is great!


    "Crisis Management" to me would be a much better first track. Blazing rifs! Towering solo!


    "Floating" Love the bass tone in the jazz break. The solo harmonically fits but couldn't say much as the busy rhythm section dominates. And so it does thru the whole album. I spoke too soon, the middle solo is much more expressive!

    You have done the intricate rif album, 

    Overall the idea's are excellent , musically it is great!

    Very, very Well Done!

    I am sure it will do well, now the hard work begins!

    • Upvote 1
  13. I reckon it is best to get in there on a New Tone and dial up the first Amp you like and tweak, refer as needed to the manual for navigation.

    I'd monitor using your Amps FX return if it has one and later learn the 4 Cable Method of hooking up.

    You might also try the different output choices from Studio direct to Combo or Amp stack.

    Or simpler to start is hooking up your Studio Monitors for stereo if you got any.

    With your monitoring set up simple dive in and try amps for starters. It is fairly easy once you know how the navigation works. 

    Have fun!

  14. I think you are talking about the s/pdif in out from the HDPro into your interface which I presume will be able to select s/pdif or ADAT for the optical or it has these separate.

    I remember a few years back very seriously pulling the trigger on the UFX but ended up going for the Motu 2408mkIII which suited my set up better and a little more bang to buck ratio.

    Anyway in the HD main menu you select the s/pdif out and choose either wet or dry. Dry has no processing just a direct dry guitar signal. You also set your bit depth frequencyand this has to match your UFX and your DAW project settings.

    Depending on how good your computer is will determine how high a resolution you can go or want to go.

    I am using Sonar X2 and record at 24bit, 88.2khz. Only as it divides to 16bit, 44.1khz

  15. Yeah it is in the Amp block, so part of the Amps volume control.

    I personally have it on full for most of my clean patches less for high gain.

    I use the mixer volume to get the level posty amp FX.

  16. There are so many volume variables on the HD that balancing patches is a chore.

    You could say the HD500 has some volume options that are extra and not really needed and to simplify by removing the the variables you can get patch switching balance.

    The Amp Volume and gain are part of your tone, effecting these to change volume is effecting your tone. This is one of those mouse wheels.

    Your Master out is not where to balance from one patch to the next. It is for gain matching to your monitoring device, h'phones, Amp, PA etc.

    Where you balance your patches is in the mixer volume page. Cycle thru your own made patches only adjusting your mixer volume.

    Heaps simpler.

    If your matching high gain amp to a clean Amp you might go negative volume numbers at first for the former.

    The SPL meter on your phone app can help you get in the ball park but your ears have the final say.

  17. I don't know much about your Tascam but if it is possible to record the HD outs into the Tascam bypassing any pre amp on the channel. The receive of an insert would work too.

    I think the tascam can receive s/pdif and this would also bypass an additional pre amp stage.


    There is a pad and basic switches on the HD which is most likely the problem, mismatching the output to the receive device. Line level.

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