smrybacki

I see also they support wet/dry recording over USB....a subject just recently discussed. I've been pretty happy with my HD500 of late, especially since the recent upgrades to my JTV59...

Ok, what new features? I'm a sucker for cool, new features man.

Use the Line6 Link and you won't need to worry over it. I think those modes only come into play when you aren't using it. Again, I could be wrong about that, but since Line6 calls these "digitally networked", I assume this to be true. If not, I'd try the "Electric Guitar" mode because if you are using a 500x, you would be using the modeling within that, right? From the product site: StageSource L2t Smart Speaker modes include: Reference/P.A. mode Reference/P.A. mode is designed for live sound reinforcement and features a flat frequency response, a 2.2kHz crossover frequency and maximum low-frequency extension. This mode is the optimal reference setting, whether your cabinet is mounted on a tripod, on stage or installed as part of a larger multi-component system. Playback mode Playback mode is optimized for pre-recorded music and DJ performances. Functionally, Playback mode is similar to P.A. mode but includes an EQ curve that emphasizes extreme low and high frequencies, making it well suited for playing back music from a CD or MP3 player, or for DJ applications. Floor Monitor mode Floor Monitor mode is automatically activated when the onboard accelerometer detects the unit is in a horizontal position (the user can manually override this setting). This mode provides a slight reduction in low-frequency content to counteract coupling when the speaker is placed horizontally on the stage. Two integrated kickstands and a retractable handle let you choose between 30- or 60-degree monitoring angles. When the speaker is in use, the kickstands and handle lock into secure, rattle-free positions. Keyboard mode Keyboard mode optimizes the L2t for use as backline amplification for a keyboard rig. This mode features a flat frequency response with a 3.5kHz crossover frequency, adding more relative energy to the cone and providing a warmer response that is pleasant for instruments. This mode also provides Virtual Tilt-back, which optimizes the speaker’s tuning to achieve an upward tilt to its main axis and aim the sound towards the performer. Acoustic Guitar mode Acoustic Guitar mode is optimized to provide a warm and balanced full-range amplification experience for acoustic instruments. This mode also features a 3.5kHz crossover frequency, with a custom-tailored low-frequency response to minimize “boominess†than can occur when amplifying acoustic instruments. Acoustic Guitar mode provides Virtual Tilt-Back, which optimizes the speaker’s tuning to achieve an upward tilt to its main axis and aim the sound towards the performer. StageSource L2t offers another benefit for acoustic performers: acoustic guitar modeling. Most acoustic-electric guitars utilize a piezo pickup that captures string vibrations but typically does not convey the resonance of the guitar’s body. The acoustic modeling feature of the L2t, based on Line 6 Variax® acoustic technology, supplements the piezo signal with a physical model of an acoustic guitar’s natural body resonance. The combination of the 2-way loudspeaker, acoustic modeling and feedback suppression make the L2t a powerful live sound solution for acoustic musicians. Electric Guitar mode Electric Guitar Mode was designed to accommodate the modern guitarist who uses a multi-effects floorboard device such as the Line 6 POD®. Rather than sending the signal from the guitarist’s floorboard to an amplifier and then mic’ing the amp, this L2t mode features an overall frequency response that emulates the sound of a 212 combo amp. The 10" speaker plays full range, with the horn adding only the smallest amount of sparkle to the sound. Users of the Line 6 POD HD500 or POD HD Pro can plug directly into the L2t L6 LINK™ input on the control panel for digital audio and logic integration. This mode also provides Virtual Tilt-Back, which optimizes the speaker’s tuning to achieve an upward tilt to its main axis and aim the sound towards the performer.

But it's also possible that he went to a Boss GT-100 which is an excellent competitor to the HD Series IMHO. Line6 is certainly not the only player in the "non stratispherically priced modelling" market. There is also Eleven Rack with Ground Control under a grand as well. Plus Fender makes a Mustang floor that is actually quite good, although not as sophisticated and then there is Zoom too. yeah, Line6 has things to worry about in this space, no doubt.

Well, I didn't know you could change that. So now I gotta hate on pfsmith0! Totally kidding...glad it worked out.

I'd say this: Widows 7 is to Vista as WIndows 8.1 is to Windows 8, IE "The fix" for the crap.

The mixer is only there if you need it, as I understand things. You select one of the "modes", those being this like "PA Only", "Acoustic Guitar", "Electric Guitar", "Music" -- I think and go. If you connect via an AES/EBU cable via the Line6 Link connection, it auto configures itself I belive. If you add a second L series via Line 6 Link (from the first monitor), it again auto configures itself in stereo. This is what I've read only as I don't (yet) own one myself. So far, I have been pretty happy with a pair of power engines but the convenience of having a stereo "Dream Rig" that is truly FRFR and requires only 3 cables to achieve is enticing I have to admit, especially as I begin with a new band. If this band pans out, I will likely make that jump I guess, but since it is early still and I haven't fully scoped things out for the long term yet, I am holding pat for now. In any event and in your situation, worrying over that last $100 doesn't make sense. If you are gigging, you can use your new PA (and that's what it really is, only smarter) for before gig MP3 plays and such...plus you can have your own vocals mixed with your guitar if you want. The options are many really, and you can get as involved as you want -- I thin lkeven setting these up on poles as your FOH, and having a third one as a wedge at your feet, if I understand things correctly.

What's cool about it for me is that it shows up as a VST plug in on Reaper and Abletone Live, and also as a native element of Reason 7 which doesn't even support VSTs at all. Propellerheads relationship with Line6 was (is still?) deep at one point, because the only guitar amp facilities native within Reason are Line 6's XT models. When I throw a Line6 "amp" in the rack, all of the models are available to me including the Model Packs. In Reaper, I just add a VST to the chain for whatever I am trying to do, including compressors, chorus or whatever else. Very cool too. People in the Reason community witch about the amp models, and indeed there is now a couple of products from Kuassa that are pretty excellent and better suited to that environment in many ways, but now I am wandering way off the topic at hand.

Cool, that makes sense. However, I bought the Model packs for the XT originally, but I guess that was only because I owned ONLY that at the time. I believe there was (is?) a Pod Farm "free" version at one time, wasn't there? I seem to rmeember it in the Monkey lineup when I still had the XT. Thanks Zap.

Since you're already into this for at least $1495 new, it makes sense to pop for the extra $100 to get a mixer to me.

I am not so sure of this. I had a PodXT bean and I used it to access GuitarPort (remember that?). When that service tanked, Line6 comped me POD Farm 2.5 and I had already purchased the model packs (Collector's Classics, Metal Shop, FX Junkie) and when I sold the POD, I deauthorized those model packs. As a result, I have available the Pod FArm and those extra models within the various DAWS I use, as well as the ability to use Pod Farm "stand alone" to make XT level tones on my computer. So in my opinion, if you do it right and deauthorize your hardware AND you own Pod Farm -- it ought to still be useable as it is for me.

Watch this: https://www.youtube.com/watch?v=Ebng8aV5iEg Sure makes me want one (or two) of those.

Well, in a word -- that sucks. Thanks radatats....

Don't be jealous boys...the customer got served and that is it's own reward. :D

Even though Microsoft tries to deny their bastard child Vista, the fact is that Windows 7 and Vista are brothers of the same mother in most ways and if it works on Win 7, it will LIKELY work on Vista. Mostly.

Hmmm, so you're saying that once the Line 6 Link is connected, that it changes the output mode of the POD? Interesting indeed.

Oooh. That doesn't sound good at all...

Great point. Many people hear tend to set input 2 to something unused like Aux or Mic to prevent this overdiving effect. I am one of them.

Methinks this is a Level 2 support issue. Have you opened a ticket with Line 6? Were it me, I'd roll back to version 1.9 and then try to update back to 2.10 before I did that, but I don't know your situation.

There is an updated Monkey available now, version 1.66 I believe.

It matters because they are summed and tend to overdrive the input of the amp models. The reason there are two is because you can run two discrete signal paths through your pod to, for example: - Run a guitar and a vocal mic simultaneously. - If you have a JT Variax, you can run magnetic pickups through one chain, and modelled or acoustic tone through another and layer them. See here http://line6.com/support/page/kb/_/dream-rig/dream-rig-tip-1-layering-wet-and-dry-tones-r559

As I think I've mentioned elsewhere, I have a JTV59 plus a POD HD500 which I play through a pair of Tech 21 Power Engines. I was just watching a knowledge base video where Sean Halley had this setup: JTV69 -> POD HD500 (via VDI cable) -> DT25 (via L6 Link) and also had the left/right XLR run into a pair of mic pres and then into Pro Tools. This got me to thinking again that if I were to get a DT25 amp, this would be where my electric guitar was played through via the Line 6 Link capabilites. I would use the DT25 as my stage monito, and take the XLR Cabinet Simulated output to the FOH. I could ALSO connect the XLR outs to the FOH for acoustic tones and maybe even select electric tones if they sounded better. Do I have this right in my head, or is there a major flaw in my thinking BEFORE I pull the trigger on the DT25?

I used the Deluxe Reverb amp and cab, but significantly adjusted the Cabinet "deep" parameters notable lo-cut and resonance. I created a very nice little Princeton clone that sounds spot on to me. Princeton amps are noted for their pristine clean tone -- throw in a 63 Spring reverb and bias tremolo and viola! Cabinet Model Deep Edit Parameters These parameters offer more control over the response of the POD HD cab models, allowing more customization than ever. Each cabinet model includes the following controls: Low Cut: Provides a gentle High-Pass Filter with a range of 20Hz-500Hz Res Level: Controls the cabinet’s overall Resonance Level Thump: Controls the cabinet’s Low Frequency Resonance Level Decay: Controls the cabinet’s Resonance over time Note: Thump and Decay controls are affected by the Resonance Level control. When Res Level is at lower settings these inter-related controls will have minimal effect.

Just perusing the blog and there are many excellent articles in there! As a Propellerhead Reason user, the articles written by Matt Piper are really helpful. Thanks for pointing this out!

Really? I missed that in the memo. Coolio.