napynap

All tubes in the SV apply only to the power amp section, which includes the smaller 12AX7 and larger 6L6 type tubes. Your delay effect will be inserted before those tubes, just like the amp's onboard modeling amps/effects.

It's very difficult to troubleshoot since the signal comes back right away. After trying to replacing cables and such, one day at rehearsal, I just moved my wireless receiver 1.5 feet further from my POD and the dropouts disappeared. That's when I researched wireless interference and learned about the metal plate resolution. A jigsaw with a metal blade can cut through thin metal plates to get the right size. Put some gaff tape around the edges and you're safe!

Oehman, After carefully reading all the responses here, and attempting to resolve the issue on stage, it seems our monitor setup is not adequate for all members. That is both a function of having the proper equipment for each member, and their willingness to set it up on time for the show. Although it has been a struggle to fix this, I'm confident that less physical amps on stage have lowered stage volume and also eliminated common feedback issues, which helps communication amongst the band during performances. CUSTOM TONES: Since I keep getting requests for this, YES, I'll post some of my tones to Custom Tones, however, I completely agree with our Line6 forum members as I feel you WILL need to customize them to your specific guitar/pickup/monitor. Consider them more as a starting point... Tinker and learn what works for your style! I'll post the link on this topic when they're ready.

Most speakers are wired in parallel, but check your manual or open those cabs.. Here's some general Ohm impedance formulas: Series: A Ohm + B Ohm = Total Ohm Parallel (common Ohms): Common Ohm / # of speakers = Total Ohm Parallel (uncommon Ohms 2 speakers): A Ohm X B Ohm / A + B = Total Ohm Parallel (uncommon Ohms 3 speakers): 1 / (1/A + 1/B + 1/C) = Total Ohm Series+Parallel: Use above formulas together, compute series first as one speaker load, then do parallel formula.

While working out your connection issue, consider this as well: I have my POD HD right next to a wireless receiver (not a G90) and was getting quick dropouts. I had to put a metal plate in between the two to resolve the interference.

As promised, here's a short video of some of the tones I use. They are all mono tones, and you are hearing the direct feed from the POD HD, no external sound processing during the video edit. Enjoy... napynap pod hd tones 2015 0902 http://youtu.be/7h6MBmVLZJc

I've noticed loose screws/nuts on my SV 212, so I got in the habit of just checking them every now and then. A lot of vibration from all that power!

At least one of the delay types has a ducking feature that you seek, so please answer Joel's question.

Thank you all for responding so quickly! Each response has valid points and knowledge that I can pass on to my bandmates, (I'll give them a link to this thread). With the different ideas provided here, hopefully we can come to a resolution as a band, because nothing's worse than not feeling your own performance on stage. If we don't feel it, the audience won't either. I'll be sure to add a video of my tones here as soon as I can. It would be great to get your opinions on them. Please continue to share solutions on this topic.

I was involved in a discussion with my bandmates at rehearsal about how they don't feel my POD HD tones are as good as when I used to use an amp on stage (Line6 SVMKII 212). Currently, for gigs, I'm using a POD HD straight to the board, and for rehearsals to an ALTO TS 110A powered speaker on the floor pointing up toward me and the band. Stereo audio recordings of performances from the main mix and also from the room out in the audience sound fine. I informed my bandmates to ask for more of me in their monitors, and suggested they are not used to hearing so little guitar presence on stage. I've never had any audience members or invited musicians in the house pull me aside to discuss any major changes needed on my guitar tones. As soon as I have some time, I'll add a video here demonstrating my tones, so you can chime in as well. It brings up a good debate about how the sound of a physical guitar amp on stage can affect the performances of the other players. Have any of you had this issue, and do you have any suggestions on how to resolve it?

Great video that demonstrates that great tone lives on beyond technical progress! Thank you! However, since your premise is about budget, it would have been even more effective to also use any non-variax guitar on some of those patches, as variax can be an increased expense.

Not sure about HD500x, but I had the same thing happen to my FBV Mk2 pedal. I took it apart and sprayed the electrical switches with Boeshield T-9. It worked very well.

I think the next step is to check for latest firmware and update with Line6 Monkey, (unless it's just an intermittent bad guitar cable?).

It would help to add more details, like which outputs you are using, whether it happens when connecting to an amp, or using headphones, different guitar, etc...

Correct, all the tubes, including the smaller ones, only apply to the sound of the power amp stage to the speakers.

Program the Direct Output for Studio. Then you can use the direct output for recording, while turning down the master for low level monitoring. I actually used this setup in live settings as well. Direct Out to the PA, and Master volume for my own monitor. It sounded pretty close to the mic'd sound when I compared both the direct sound with a Senheiser E609 mic on a live multi-track recording.

Just answered you here: http://line6.com/support/topic/15222-loop-problems-spidervalve-112/?do=findComment&comment=111548

Most likely you are pressing both A and B (or C+D) with one foot (by accident). I've done it before, and it took a while before my research finally pinpointed the cause. Let me answer your next question now. No, unfortunately, you can't disable to Looper in any patch.

I experienced a volume cut on my SV MKii 212 combo, which could be considered similar, and found the issue to be bad 12AX7 tubes. I replaced them and resolved the issue. However, there are certainly other things that could be the cause.

I wish that was the case, but unfortunately, the POD HD Pilot's Guide (Rev E) - Pilot's Handbook (sometimes listed as the Quickstart Guide) refering to page 4, Front Panel Controls diagram, details on Page 7 state the following: 18. Unbalanced Output - Connect 1/4" cables here to send your sound to a guitar amplifier, recorder, mixer or PA system.

The same bass amp models from POD HD 500 are available in the POD HD Desktop (bean), which I use. It's a smaller solution if you don't want to deal with a pedal board. However, it only has unbalanced out, so I keep a DI handy for some PA's.

You should always have smooth control of your guitar's own volume pot. I would concentrate on resolving that issue first. Relying on a volume pedal instead introduces other factors toward removing more control of your own volume, like a moving cord on stage that catches the pedal to maximum.

I just edited my original post with my actual settings. They seem to work great across a lot of different powered inexpensive monitors. I play all kinds of styles from classic rock, to disco, funk, cumbias, rock en espanol, and metal (a favorite) when the venue allows it. I usually put some kind of a mild fuzz or compression block before the amp on all of my tones.

Robust opportunities for the Mic input have been largely ignored in past POD products, but maybe the new name will turn that around a bit?

I've been doing that on several gigs now, no physical amp, just direct to PA or FRFR powered speaker. After messing with a lot of different kind of tones, it never sounded quite right until I started using the new global EQ to cut anything higher than around 6kHz. My Global EQ settings: Low Cut: 200Hz Low Band: 240Hz , Q1.7, Gain +5.0 Mid Band: 2.1kHz, Q5.4, Gain +1.5 High Band: 3.0kHz, Q4.7, Gain +2.0 High Cut: 6.0kHz