duncann

I used a soldano clean with red compressor and line 6 drive in front of it, and also a q-filter. I did it like this because I remember the distortion being really smooooth and the line 6 drive is really good at smooth; there's no real edginess to it and it doesn't seem to have that trebly clean tone poking through on lower notes like the screamer and other distortions seem to have. Edit: I should also mention that I used headphones when making the patch. And after having set the guitar aside for awhile and then trying the patch again, I should have used the 57 on axis mic. It definitely sounds closer than the 409.

Here's a quick attempt at the rockman sustainor. From what I remember, this whole thing has a kind of subtle parked wah quality to it. The mic was kind of a tossup between the 57 on axis or the 409. I went with the 409 because it has more bottom end that the 57 lacks. The uber cabinet seemed about the best. The mid control on the amp is a good approximation of sliding the phase notcher up or down on the actual unit, and when the phase notcher button is disengaged, the lower the mid on the amp the better. The pitch glide is the best way I've found to simulate the stereo chorus part of the stereo chorus/delay module. The next best way would be a stereo delay placed after the mixer with mix 100, l and r feedback 0, l time 20, and r time 35. Again, most of this is going from memory, so it may not even be close. The pickups on my guitar are evolutions. Sustainor.zip

I would say it's really hard to guess this. It would be a guess too. Could be anything from the Gibtone to the Bomber Uber, so I'll say the Gibtone. What does the winner get?

I got rid of a rockman sustainor and stereo chorus delay not too long ago, which were replaced by an hd500x. While I never really tried to duplicate the tone of these things on the pod, I did try to get a similar tone at first (I'd post the patches but it was quite some time ago and I no longer have them). But then my ears migrated away from the tone of the rockman to the better sounding and more numerous possibilities of the pod. Now as I look back, I wonder what I thought was so great about the rockman. But I never specifically needed the rockman sound as I never played any Boston songs, maybe you do though. A couple of times I even tried putting the sustainor in the effects loop, and in the pod's guitar input, for its unique distortion, but gave up both times because the pod's distortions are just as good, if not better. I have no doubt that the pod could duplicate it though. Mostly a matter of cab and mic choice, and maybe a bit of EQ somewhere in the chain.

That's really odd. Never noticed any behavior like that. I always work in the edit software, but I never use the set lists "tab". If I want to copy a patch from one location to another within the same setlist, I hold down control (pc here) and click drag a patch from one location to another, then send the newly copied patch to the device. The patch I click-dragged is not affected in any way. Edit: Ok, I think I see what's going on now. When I don't use the control keypress and move things around, now something goofy happens, likely whatever you described.

I do this all the time, but I've never had any problems with the list shifting down one slot? Maybe I'm not sure what you mean.

I personally don't like these things. Oddities. Yep. In the video you can hear a bunch of warbling/tracking problems.

Peavey seems to make one: https://www.youtube.com/watch?v=NurkeWG-a-0

Still probably far away from this. Just taking a casual listen to some of this type of music, and it's absolutely horrible, nerve grating, but a lot of people like that stuff. Sad. I wouldn't even classify it as music. But then there is technology that can take a completely out of tune guitar and make it in tune. Don't variaxes do this, or some variation of it? On the other hand, it still doesn't cause one to actually play better, or write better songs.

Interesting. Thanks for posting this. This would be much more useful if they would use a wider selection of headphones along with different types of music.

On a somewhat related and parallel note, how many people prefer listening to a live recording of a band rather than the studio version? When I listen to Satriani or Vai, I always prefer the live version. The guitars' tones sound much more organic in most cases, less processed, less sterile, less clean.

Oops. Sorry about that. After reading what I wrote, the word player in the second sentence should have been listener, not player. I was basically agreeing with you but expanding it a bit. :) I have no doubt there are differences between modeling and an amp/cabinet in a room pushing air. I used to love playing through 4 4x12 cabinets cranked up through a stereo peavey power amp with a bunch of rackmount stuff for the pre-amp and post effects. Long time ago, but still remember what it's like. Now I only ever use headphones.

I thought the total was around $3000 with the controller? Either way, that's a damn lot of money. Or not, considering a lot of guitar players spend way more than that on pedals, guitars, amps, cabinets, et al. My hope is this is going to be something that fills in the gap on the lower end between $500 and $3000, like around at most $1000, or a direct competitor with the new amplifire. It's encouraging that it will be using two lower priced DSPs, but It's probably just wishful thinking, though, that will only result in a momentary disappointment upon hearing the reality. Just have to wait and see.

You could be partially wrong about this. The player may not be able to directly "feel" the difference, but it's possible they can indirectly, or by extension. Assuming the player can feel the difference, they might execute a certain lick that much better, or phrase something with more emotion behind it. So in that way the listener could certainly "feel" the difference, but not tonally.

I often looked at the ms70cdr in the past, came really close to getting one, but I hate the idea of any of my tones relying on multiple devices. For placement, I usually put the gate in a place that sounds best. I end up trying all different positions from first, middle, and after amp. Can be different for different situations. That's one thing I love about the pod, the versatility.

For the noise gate, I usually use a decay around 45%. Gives a more gradual "shutting off". The threshold I'll adjust it to a point so that when not playing, any noise from the amp/effects can't be heard. Usually ends up around 35%, or a little lower. For backing rhythm tones, I started using a hard gate with -52dB open, -55dB close, hold time 0ms, and decay 500ms.

Maybe post this on ideascale. Sounds like a good idea.

Never used or tried the AKG K240s, but use the MDR 7506 daily. Perfectly satisfied with them. I use them to for just about everything, but not as a sole source of sound reproduction. There is also the MDR V6, which is essentially the 7506. I also have a pair of V6s. The 7506s have a more distinct sound separation because of a wiring difference. The V6 you might be able to find slightly cheaper than the 7506.

Thanks for the clarity on that hurghanico. :)

The 500X has about 20% more dsp, which would translate to more tone possibilities. That extra bit more makes using dual amps/cabs/mics more worthwhile without losing other basic effects such as delay and reverb. That would be the biggest benefit. The lcd screen has better contrast if that matters. And the switches have the light surrounding them instead of underneath. If you find yourself running into the dsp limit, then I would say it's worth it. If not, then probably not, unless you're looking to expand the tone possibilities, and if you don't mind the hit to you're wallet, if any. There's also a firmware update coming sometime around the end of march for the x series first, then a couple weeks later for the hd500 and pro. At the same time as this update, there will be three amp packs available, for $50, $50, and $30, or all three for $100. There's info about the amp packs on the forum if you do a search.

That quote from DI is pretty old, and the numerous threads going around (here and tgp) about the whole resonance thing since then, I think had people coming to the conclusion that if the resonance is zero, thump and decay no longer have any effect. Pretty easy to try for yourself to see if that's accurate.

Looks like it. Here's a link, http://www.google.com/url?sa=t&rct=j&q=&esrc=s&source=web&cd=12&cad=rja&uact=8&ved=0CGoQFjAL&url=http%3A%2F%2Fcds.cern.ch%2Frecord%2F1100536%2Ffiles%2Fp167.pdf&ei=CfzpVNkMib-CBP2ihPgL&usg=AFQjCNFkqWFDHy5oKiV9u6nrQvMsxIWskg&sig2=ewI_-8In0XYPdQ0AI3OfFg, to a pdf that talks about the fundamentals of programming DSPs. Mention of Sharc processors are in there, goes into some amount depth and also talks about different programming languages.

I think he's referring to something that will decode or read the pod firmware files in some way. And if that's the case, Line 6 sure wouldn't give something like out, or even leak it out. But if you're looking to flash the firmware on a pod unit, then you'd want the Line 6 Monkey program to do that.

Interesting. I take it you must have programming experience? I wonder, though, what language they use, because what they do can't be like writing programs for generalized computers, can it? How much of what they do is actually written in assembler. By the way I'm not a programmer, but I do remember messing around with it in the days of apple IIe computers. Finally, DI is going to come back and start complaining about the ~4% number again. lol.

I think this would be a good idea, especially for the use you mention about checking clipping. Always good to have more features.