duncann

I'm like you that way. Nailing the tone in the pod and no processing necessary in the daw. Something to said for minimalism. I didn't even think about the benefits of it while recording, mostly because I never change presets or banks from the daw, or very rarely. Another plus I guess.

It's easy to say to use the already existing EQs in a patch. But in practice, it may not be so easy for several reasons. No more FX blocks left, and even if there are, there may not be enough dsp. None of the existing EQs has the functionality of the new global EQ, so it could take multiple EQs and FX blocks and even more dsp. If you find a way to use one or more of the existing EQs in your patch, it might require a complete redesign of the patch. I for one do not find the current EQs very easy to work with. If the new EQ could be assigned globally or on a per patch basis (and only at the very end of the chain), perhaps Global would be a bad choice of words, since a lot of people seem to have hangups about word choice, you could call it something more appropriate. It would really only be global in the sense that it's always there no matter what, like you say, even when using a blank patch. Maybe refer to it as simply the EQ Block, much like the amp is call the AMP Block, or the mixer can be called the MIXER Block. Then you could say the EQ Block can be assigned globally or by preset. I don't understand the people here arguing against more functionality for the new EQ. It's kind of baffling.

Yes. But since the coding likely already exists for making it apply to all patches or per patch because of the inputs setup setting, why not have that option as well? The global EQ is still always there, but you can have different global EQ settings per patch. It would be like having an extra FX block at the end of the chain that's unmovable. Plus it seems that not every patch would do well with the same global EQ settings even if the room is the same. And I remember DI saying they optimized the code which results in a few percent more DSP. I can imagine guitarists at a gig screwing around with the global eq for room compensation for one patch, and then moving to a different patch and wishing they could have different settings from the previous patch without losing the settings for the first patch. Already, even before the new firmware is released, I've seen a few people wanting the global EQ as a movable effect block or having it apply per patch. I guess I can count myself as one of those people.

Why does the global eq only have to be used for room correction? Why can't it be used for a final tone shaping tool? Or are these two things the same?

Here's an ideascale link to vote on that does one-half of what you said: http://line6.ideascale.com/a/dtd/Global-EQ-Linked-to-Preset-Global-Inputs-Setting/688240-23508?submitted=1

Here's an ideascale submission for having the new global EQ linked to the 'input setup' setting so it can be global or preset. Global EQ linked to Input Setup Setting

Holodecks are soon coming...

Ha! You say 4k is absurd now! I remember when 320x200 (and with 16 colors :lol: ) was awesome and anything more was just a waste. :) Seriously though, one day soon 4k will be an obsolete standard, probably even before it becomes an accepted standard.

So at some point it sounds like the drivers do install correctly, and Line 6 Monkey shows no errors? There's green checkmarks by everything? And there's a number listed after ESN: on the left side? Only other thing I can think of is trying a different cable if you have one. And seeing as how you just bought the unit, hopefully you can at least do an exchange with the retailer?

Another thought. When you run Line 6 Monkey, does it identify your device correctly?

You could also try a different USB port. Not to be too much of a downer, but this sort of behavior sounds like a hardware issue. Could be the pod or something with the computer. To be sure it's not the pod, if you have access to another computer, see if works on that.

I just tried looking for that setting, but no luck. My system doesn't bluescreen when I shut the pod off but hard locks after about 10 seconds of the pod being off. When I got this to work it was quite some time ago, about a year. A lot of things are different now; the version of Reaper and the entire computer hardware, plus whatever updates for the OS (windows 7 64-bit) were released. The pod driver version was probably different too.

I guess looking at it that way it sure is a good thing. Hopefully, the electric guitar, in its purest sense of an instrument and nothing more (pickup, strings, wood, and metal), and the accompanying means of amplification won't die off too quickly. It would be interesting to see what a guitar will become in, say, 100 years.

What hurghanico said. I've found a way to deliberately cause a blue screen if I turn off the pod while Reaper is still open and using the pod ASIO driver. However, there is a setting within Reaper that fixes this. Unfortunately, I can't recall the setting, but was likely something under audio or audio/device in preferences. Other programs might have similar settings. What was your system doing when it crashed?

Wasn't the last namm pretty much void for guitarists?

I don't have any one favorite combo. It depends mostly on the song and how it sounds in context, and the track. I am definitely not tied to the defaults and any amp/cab though. I tend to try them all, along with the mics. And to go even further, I usually do a dual cab setup for twice the tweaking fun. Or overwhelming frustration, depending on how you look at it.

Intellectually I know this. But speaking for myself, and as it relates to technology improvements, there's an irrational, psychological component that says the next generation is as good as purchased. It's simply going to be better than the previous generation and allow for more versatility and functionality, hopefully, if it follows how technology generally evolves over time. Even though what's currently right in front of me is perfectly fine. Just have to see firsthand what's around the next corner.

Digital_Igloo said they still have to work out the details of it all, but it will probably work like packs with the x3, however that was. Buy one pack, at least two devices sounds good to me. The thing I'm more worried about is Line 6 announcing the next gen HD device at the next trade show later this year. That would likely make purchasing the packs not worthwhile, or a short lived use of them.

POD HD 2.6 Global EQ—Three fully parametric bands plus low and high cut filters, available from an additional Setup menu page; we had to do quite a bit of clever optimization to fit Global EQ, and you might see a tiny bit of extra DSP for other blocks (a few percent perhaps) Metal Pack ($49)—Peavey 5150 (block logo), Bogner Shiva, Remastered JCM800 (model 2204), plus favorite POD Farm models Insane, Big Bottom, Varaic'ed Plexi, Purge, Aggro, Smash, and Octone Vintage Pack ($49)—Orange OR-80, Roland JC-120, Fender Champ (Tweed), VOX AC30 Fawn Normal, VOX AC30 Fawn Bright, JC-120 cab, Fender Champ cab, plus POD Farm Acoustic Bass Pack ($29)—Ampeg SVT Normal, Ampeg SVT Bright, Gallien-Kruger 800RB, SVT 8x10 cab, SVT 410 HLF cab Fully Loaded ($99)—All three packs I count 11 'at least' HD models, plus 4 new cabs, plus the non-HD stuff.

The thing that worries me the most about these packs is buying them, of which I'd probably just get all of them, and then find out later this year that the next gen HD series is announced with a probable fourth quarter release. DI said 2015 is the year for guitar players and that the current namm isn't the only trade show this year. I suppose selling an hd500 or hd500x with model packs would increase it's resale value, but still.

The only ones that aren't 'at least' HD (I'm not sure what 'at least' means, but Digital_Igloo said that) are the ones ported from the earlier generation units. All the rest are HD (at least).

They are not revamped with HD standards. Just ports. At least that's what Digital_Igloo basically stated.

I can't remember where, might have been here or at tgp, Digital_Igloo said the resonance dep parameter is dangerous and powerful. He said he always turns it way down from the default of 50. He also said some people like to turn it way up. I'm one of those people. I get that it is a powerful parameter, but dangerous? I wonder what that's supposed to mean.

I wish someone would drop a not too subtle hint about summer namm, because I don't want to spend $100 on the amp pack only to find out a few months later the hd1000 (or whatever) is announced.

Here's an updated patch for Day At The Beach and Baroque. It turns out that bru58ski seems correct and that the only effect being used in Day At The Beach is a reverse delay, and it sounds to me to be slightly ping-ponged. Baroque sounds like a more straight-forward shimmer type effect. It sounds garglely/stuttery at some parts, especially when first hitting some notes, and tends to smooth itself out as it decays. So I attached the decay of the octo to EXP 1. Heel-down gives the more garglely/stuttery response, and toe-down increases the decay to smooth it out somewhat. I also did a quick attempt at matching the guitar tone. On my guitar it sounds close. The pickups are dimarzio evolution, and the pickup position uses one-half the neck pickup plus the middle pickup, or position 2 of the switch. datb.baroque.zip