bjnette

I second this especially if your soloing and you got another guitarist playing rhythm where he gets the thicker tone and mid scoop and you get the mids to cut thru.

If your monitoring thru full range powered speakers rather than an amp the Amp modelling will be worth it. I have used the foot switches to control my DAW transport but it would be good if the HD500 had a HD300 type mode select to use it for both sound and midi controll.

Gee, where I believe that releasing a new version of the HD's would be a mistake for Line 6 a Bass version would not be. In the past they have had several specialized Bass PODs and a HD version would not be mistake for a new product line. Of course, I agree with you and would like to see some more Bass modelling in the current HD models. Perhaps a bass specialized HD version would not be such a crime especially if if current HD models got a little taste of the new model included as an update or purchasable bass pack. GREAT IDEA!

The nature of tube amps is they are an old technology and create noise, even when idling. Some are better than others. One thing I have found is an isolation transformer really cleans up a valve amp and the HD500 and the guitar. First though is your guitar. Some pickups are really noisy single coils especially and even some humbuckers can go microphonic easily. Next is on the HD500 both inputs are active. The Aux is quieter when on the input page deselecting "same" and choose "variax". This makes a difference. The nature of the HD 500 high gain AMps and FX are noisy as they are modelling the real thing which are noisy. Noise gating can help but work on the above first. The isolation transformer really helps the hum and I'd recommend one. Correction: Actually I reread your post it is the hiss from the amp you wanna kill. There will be some hiss regardless from the amp as it is the last link in the chain apart from the speaker. Hum gets on the power and the HD or any amp will magnify it. But make sure your guitar is earthed properly and even shielding can help it be not so sensitive. The pickups pickup stray interference easily and you might have to hold it just so in the one position that is quietest.

Being a Pre Amp it goes before the Amp. I'll give it a try out. Up till now haven't as I got the idea that digital analogue warmth is created by adding noise. Not always a bad thing. It is kind of a carrier. At least that is what I have found testing VST plugins by inserting another instance of said emulation on another track or bus feed by or duplicated track but with one the buss channel phase inverted. You get a phase cancellation and no sound when set up the same or when both are bypassed. When you adjust or activate analogue warmth you hear the artifact. this is great way to test plugin compressors as well as I can tell you most have a noise when attack set fast. You can also listen to EQs and Reverbs using this. But some verbs plugins already allow you to listen to a frequency band by this method. I'll presume Line 6's modeling will add noise as unless it is analogue with tubes and or input and output transformers which add distortion (harmonic noise) when driven.. It is just digital doesn't do it for me. An example are the tube amp models while can sound great they on any emulation / modelling software cannot do it like the real thing. And one reason why many users still prefer their actual maps to the HD500 models. The good thing is the HD500 probably gets you 90% there. Anyone with two HD500 could split the guitar inputs and using the same patch go into their DAW inverting one of the HDs channels. Then adjust the Vintage Pre to hear what it is doing. Or any of the Amps and FX. It'd be revealing thats for sure.

I haven't done it but I did read a post where you route out TRS back in on one return. The other return from your device. And blend. I think this is what your asking and should work mixing the 500 thru with the synth. Oh, You can feed the synth by splitting the TRS send into two. One goes back to the return the other via your device. If I understood you correct

No worries. I should mention that less is more in some cases. I have found that just have an amp in the block and tweaking it and its sub edit pages can yield impressive tone. Really work on the Amp block. You can set up the cabinet resonance where you can get away without reverb and only a delay or none and can sound just sweet. In the world of digital recording the recorded track is at it's purest state and the addition of FX actually degrades the quality a little. Every change adds up. This is different to poor mixing techniques where proportional sound is not sought and the inexperienced result is a muddying morass. Similar can occur. The problem with the HD500 is you can have lots of FX untill your DSP runs out and just because you can have a heap doesn't mean you actually need them. Some guys duplicate an Amp to a bank row and each patch has the various different FX so there is no accidental over processing. This is a great way to expand the half dozen best patches you have and where I am up to.

Yeah the noise is less of a prob if your out via analogue and the master is backed off a bit. s/pdif bypasses the master and is like the master section is full volume.

Good on you for putting this up Ed. My name isn't Robert but my son is named Ed. LOLOL You really did your homework and the data is a useful read. I am a bassist primarily but have taken up the guitar parts for songwriting. Personally I found the pre amp on the POD not as good as cranking the input on my GAP 73Pre which does an excellent job of smoothing out those lumpy notes. The iron in input and output transformers even stock is so good at evening the response I can get away without a compressor. I bypass the HD500 pre and come in on the FX loop receive. To add a compressor also raises the noise floor and differs from limiting which is a ratio generally above 20 times. I prefer hardware but with your write up and description I might be able to rework some of the FX. While I like cleaner tones for bassand am of the opinion the fat strings have enough modulation already without needing effects, there are some that work great on bass in the POD HD

FYI; A while ago I was having an awful time with noise using my HD500 recording the s/pdif output. I got lots of advices and links and it did help greatly. Then I picked up a used Peavy Valve King Royal 8. So noisy and it sounded lollipope thru the craped out 8'.. I installed a speaker ext jack and use my old not working Spider II as a speaker cab. Big improvement but the Amp was still noisy. A few weeks ago I picked up a used Isolating transformer for silly money from an Auction and l got to tell you how quiet things are now. This thing really cleans the line and filters it as well. Basically the transformer unlike a stepdown or stepup maintains the same voltage and like all transformers isolates the input into the primary coil by inductance pickup in the secondary coil. This one has filtering thru the common earth. Not to be confused with a Power Conditioner which are over priced power strips imo that offer filtering and surge protection but alas noise on the AC still gets in unless it contains an isolating transformer. Expensive too. The Amp is now quiet the guitars are now quiet, even when hands are off the strings and the POD HD is bearable using high gain amp and Distortion models. Do yourself a favour and get yourself one for the Studio and while heavy, worth it on the road too!

Wrong output mode can give what you describe including more noise.

Patch matching cycling from cleans to hi gains so the changes sound right, I have found; Each Amp's gain and volume effects the tone your after and of course the tone controls. When you have a gain, volume and a master controls including another Master on the edit page 2, there are too many variables. When you first get on you use the master and amp controls to adjust the volumes from patch to patch and the result of any patch tweaks is embarrassing and unprofessional at a gig. To avoid volume at the expense of tone I opt to use the mixer block the most to get the consistency between Amps by keeping the Master volume the same on all models at 100% max ruling out one variable. You could consider the Master a supernumerary. So too the edit page Master. (Extra but not needed.) Of course you could make the level what works for you and your amp.. But don't adjust it from patch to patch. Try to avoid using a boost comp or an EQ to raise the gain as it effects your tone. Try to use those for getting the tone and definition your after and as a last resort. The Volume level on each Amp model depends on the gain and tone settings your using so it is variable from patch to patch. Another variable is different guitars especially higher gain pickups. For this reason I now save the patch indicating the guitar used to make it. I now make setlists based on the guitar used as I have more than three. Not all patches need to be duplicated and honed for each guitar as they are primarily for different genres. But its handy to know the patch your using was made for the guitar your using. The only other thing is once you have a patch you like save and try it out with different pickup selected and adjust so all work without wrecking it and save it if your happy with it. O,r save the patch with the pickup that was used to make it but I like to make the patch work if I can for all on that guitar but it is not always possible. B'mStratXnm indicates what pickup not to use on my Strat using the Bassman amp in the patch name. This is for one guitar that has had the stock mid and bridge pickups replaced. I am still cycling thru using a dozen of the amp models. It is still a chore but I am starting to get consistence in volume changes. Simplified, treat the mixer as your gain match device and remember to save it. Finally what works for you. We all have different styles and needs and one size does not fit all!

Yep I know what your going thru. The term I use for it is "Bright" overly so, especially adding on the FX into some Amp types and some hardware cabs are worse than others. What handles it? I have tried the output mode and adjusting the mid emphasis and the hi low shelves and it doesn't get there. The best solution is the treble and presence on the Amp model your using. Cut to taste. That is where it is coming from and it saves using up a slot for an EQ to handle it. I'd rather EQ for enhancements personally Do try the cab and mic models though.

Really Well Done! Great Benfolds to Deathmetal in one song! I'd suggest taking out some sibilance early on, on the vocals to make it as good as it can be! Cheers

Hopefully just a bit of grit keeping it from returning. The casing comes apart easily, correct size driver. there is lots of space in there. I think I recall a PCB fixed along the top face but you might be able to look with a magnifyer for anything mechanically prevent the switch returning to normal. Hopefully it is not the pressure switch itself. These are fairly small and fixed to the PCB and would be tough to replace. If still under warranty open a support ticket and save yourself the hassle of opening it up.

I agree with jstock, I think the DT models are excellent even without the POD HD500. But what a match. They are a bit expensive I agree, and for the same and even less dollars you can get one of the valve amps being modelled in the 500. Just make sure it has an FX loop ideally. I bought a Peavy Valve King Royal 8 recently for $AU120 and connected a jack and powered a 12' celestion single cab I got rather than the lollipope inbuilt 8". Always wanted a small 5 watt studio valve amp. Now I get that nice valve sustain just not quite there on the HD on its own. I am micing it for recording and it gets loud. This has me hankering for a better valve amp for giging. One thing the PODs are good for is promoting the valve tone. That is a testament of how good the modelling really is!

I'd really check your cabling first. Followed by jacks in the Amp and HD. But, I have noticed patch differences with different guitars as some output differently to others. You are on the right track if the above checks out with looking for what changed. Because if it happens only now and then, then there is a change causing it. Subjectively in bed before you go to sleep, really take a look at it. Scan the last few gigs. You'll find the change.

I agree good chance fluff or dust in there. Don't use WD40. It is primarily fish oil. Best use compressed air first. You can get it in a can. Potentiometer cleaner would be the next best.

Hi Savon, You can connect via s/pdif on the 24/96 using the midi connector cable also has a s/pdif in and out. If not. the cable then connect to the outputs from the HD500 left/ right outs, either xlr or TS jack outs. Probably a stereo phono cable with a couple of 1/4' phone jack adapters should do the trick. If from the XLR outs you can make a cable not connecting the earth at the phono cable end. You can hook up your monitors out from the 24/96

Have you recorded other instruments in GB? As it might be in arming it. Check buffer size as well as too little and it won't want to work. Check other setting as well. Hope your up and running

I'd love a Kemper, no doubt about it, in the meantime I got my HD500 which I love too. There are many variables with the 500 for gain staging and it is an issue. It would be great if there was an auto make up gain global setting that compensated for Amp and FX gain changes. This is a must have. As there are so many variables the liability of using the presets or customtones is that the varying degrees of how the gain is set up with different users is variable, different. This is an issue. My solution is to remove one variable. Going into an Amp gain match it guitar to amp direct to guitar to 500 in tuner mode. Get that level which is full on the Master volume and perhaps a mixer volume adjust. If you have a SPL meter this will help. Dont change your actual Amp monitor setting. You can download a SPL app to your phone if you haven't got a radio shack one. That becomes your invariable gain match. Imagine there was never a Master Volume and you got one less variable to gain match patches. Now if your going into a tube Amp you might want to increase the gain into it and that is fine you can add a little extra. Next I found is naming patches by the guitar I am using, if you have several you will know some output different levels. Next is gain matching patches by the mixer output level rather than the Amp settings as compensating with those will alter your tone and you could soon loose faith with your unit. Dont' forget to save the gain matched settings. What you want is a reasonably matched gain stage between your quieter cleaner amp patches to your more gain driven Amps. Next, the on off FX in a patch then can be adjusted individually and this is where the auto make up gain would be nice but as mobo and others have mentioned in other threads the EQs can be used for boost where needed. Lastly, going from a patch with all FX on to a patch with most FX off, depends on how you work and some like a bank of the same Amp with FX in the remaining slots and this works well using the mixer to get a realistic gain change. Cycle thru and hopefully your only fine tuning your patches. Again I think the trick is to remove the variables from patch to patch and we have all done it adjust the Amp vol while keeping the master the same. Dive into the mixer instead and don't forget to save. Hopefully this will help some because the gain staging is an issue. And until we can all afford a Kemper might as well make the HD work.

Might be combination of the input volume or added noise and or string length ie intonation or bad string.

All good advices, I particularly like; This is so the case, LOLOL As your already underway I second the simple approach, trying out the Amps first, monitoring thru your rig. It is more pleasing to tweak from scratch. It can certainly suck up some trial and error time but the more you do it, the easy it is to just create your texture with the palette provided. Once you got your preferred Amps and FX a time will come to try out the others to see what you can squeeze out of them. When you save patches name the instrument your using. Some guys make patches for different monitoring scenarios I make patches by the instrument I made it with. I got a few different guitars and basses. One last thing, some FX sound better with different guitars. I discovered some to die for using my Musician bass that sounds lollipope thru my strat.