edstar1960

Thanks katiekerry.

There is a groove in the casing both in front and behind the piezo element. On the low E and A the groove is not really wide enough to allow the string to vibrate freely without hitting the edges. I am not sure whether katiekerry expanded the groove in front of, or behind the piezo. From what I can see on my 59, the potential is there for the string to interact with the casing on both sides. On the 69 the strings take a nice steep dive down into the bridge after the piezo saddle - no shallow slope or casing to interact with the string.

I have seen several JTV59 owners report the problem of the piezo elements moving within the saddle casing of the JTV59 bridge and several people have reported fixing it by applying glue or wrapping plumbers ptfe tape around the piezo. I can see that my piezo elements move just by tugging on each string laterally just in front of the bridge, so I would like to know the best way to address this problem and exactly how to fix it. I have never taken the bridge apart so have no idea how the piezo elements are fixed in or how they come out. So please could anyone that has hit this problem and addressed it, add their solution with detailed steps to this thread? That way anyone that hits the problem in future will be able to easily find the suggested solutions all in one place. Thanks in advance everyone! :)

For the JTV59 - do the piezo elements just pop out of the casing? Just wondering how people have managed to glue around them or place plumbers ptfe tape around them? I can see my piezo elements move if I just push each string laterally just in front of the bridge - so I would like to be able to stop them moving around if possible - plus would like to do the widening of the piezo element casing groove too as I get that annoying plink on the 6th string at times! In fact the 5th and 6th strings tend to sound more metallic than on a standard guitar so possibly both need the grooves widening. Also I noticed that the strings pass pretty close to the front of the bridge after leaving the saddles - so there is potential for contact there if you hit the strings heavily. BTW - Charlie_Watt you can see that Katiekerry posted a picture of his JTV59 bridge a few posts back so you can see the elements sitting in the housing saddles.

You can set up the HD to have two totally separate paths from INPUT to OUTPUT or you can choose to merge/share fx on the PRE split path or the POST mixer path. So the answer is YES - you can have a totally different path for your GUITAR on INPUT 1 and your MIC on INPUT 2. You simply place the guitar only fx in PATH A, and the vocal only fx in PATH B, and set the mixer block to pan hard LEFT for the path A and hard RIGHT for path B, then you have GUITAR on OUTPUT L and MIC On OUTPUT R.

Falcao_Rocks, I have just created a patch on my HD500 with the Treadplate and Smart Harmony and saved it without any problem. I have attached it to this entry for you to try if you want. If it still fails then I think you need to try Duncann's suggestion to reset the unit. Good luck. TestTone.zip

RockinMorroccan - if you have created the patch with the WAH fx on then it will always be on, unless you assign it to a FS or the TOE switch under the expression pedal to control it's ON/OFF state. The toe switch also swaps between EXP 1 and EXP 2. I usually assign my WAH pedal to the TOE switch and the opposite EXP pedal to the one I have volume assigned to and I press down the expression pedal to engage it and swap to the alternate expression pedal to control it and press down to turn it off and switch back to the volume expression pedal. You can assign the ON/OFF to another FS if you want, but you will still have to press the toe switch to toggle between EXP 1 and 2, to control WAH/VOLUME.

Falcao_rocks - Are you just adding one treadplate model and one smart harmony and hitting the DSP limit? Or do you have other fx blocks allocated in the same patch? I can't see why the HD500 would not be able to have the treadplate model with the smart harmony - if they are the only things in the patch.

+1 to above. Tuner only works on Input1. Make sure the source you want to use tuner on is assigned to Input1.

It is if the VOLUME pedal is at the front of the chain before the amp. Added: Sorry I didn't answer your second question. Assuming the VOLUME pedal is only controlling volume and is not assigned as a controller to adjust the DRIVE of the amp model, then you can simply place the VOLUME pedal after the amp to control overall volume level without effecting gain/drive into the amp.

I am on Win 7 at the moment .... and it worked fine under IE 10 ..... upgraded to IE 11 yesterday and now the "quote" function no longer works...... So next move .... take advantage of the free upgrade to Win 10 ..... :D :D :D

Great idea about t-shirts cruisinon2! :D (For some reason under IE 11, the "quote" function has stopped working.) :rolleyes:

I have a serious attack of G.A.S. ..... :D

Try this document which I downloaded from the forums years ago .... it may be a little out of date .... but hopefully it will give you some idea. Someone may have a more up to date version somewhere... HD500 Effects DSP Usage Estimations (collapsed version 1 page).zip hd500 dsp test summary (table).zip

The DEP parameters will have similar but varying effects on each of the different presets - you may find a particular combination that you like for a particular amp model or a particular preset but those same settings will not necessarily sound good with everything - in fact they could make some presets sound really bad but others really good. You may find that certain parameters you always like to increase or decrease to varying degrees with each model. For example, I like to set SAG to 55% to soften the amp feel a little but it doesn't work for every patch I have created. I also like to move BIAS to around 70% because I prefer the CLASS A amp behaviour, but again that doesn't work for every patch or every amp. Generally, if the defaults sound good I leave them. I only tweak if I need to. Knowing what the DEP controls effect helps you determine whether you need to tweak them to nail the sound you are after. Go ahead and experiment and find the tweaks that work for you. Have fun! Good luck.

The thing is it will definitely give you at least what you get with the HD400 and it may very well give you the double amp patches that you need or certainly will give you the ability to make more complex patches. As arislaf already said - it will certainly give you what you asked for in your first post. You could order from Sweetwater and then you get the 30 day return period in which to try it out to make sure it's what you need.

They are some heavy hitting fx in terms of DSP usage. Some of the HD amps use 25-30% of the available DSP - so if you have two of them in use then you will only have 40-50% DSP left for the fx. Some of the new modelled amps that are the XT/X3 conversions may only need 10-15%. All approximations. The HD500X does have more available DSP than the HD500. However, I note that from your first post you have the DL4 - so you could always put that in the fx loop and that would free up DSP usage on the HD500X. You may find that you don't have any problem at all - it all just depends on the combination of amps/fx you choose for your patch. As long as you realise there is a hardware limit and it will tell you while building the patch when you exceed it. There are many combinations and options - so even if you do hit the limit you may find there are alternative ways of getting what you want. Unfortunately you won't know until you try.

Yes I am sure people have their go to settings but they won't necessarily translate well to your personal situation and likes and dislikes regarding tone. It also depends on what you use the POD for - do you only use it for recording to DAW? Or do you use it for rehearsing at home through an amp or FRFR speakers or studio monitors? Or do you use it to play live? What sort of sounds are you after? Clean/Crunch/Distortion/Classic Rock/Metal? For home recording direct to DAW the default amp/cab DEP settings are probably fine for the vast majority of cases, but if you can't get the tone you are after you can look at adjusting the following parameters: MASTER - this affects the amount of cross over distortion that the power amp modelling will create. Many of the models have this set to 100% - some only have it set to 50% - so if you are hearing too much power amp distortion in your sound, then adjust this down or if you want more and you are using a model set to 50% then you can try increasing it. You may have to tweak the DRIVE value of the amp model and VOLUME accordingly to get the right balance between pre-amp and power amp distortion and overall volume. SAG - default is 50% - affects how the amp "feels" when it responds to playing - lower values make it "stiffer" and higher values "more spongey" - try it and hear for yourself how it affects the sound. BIAS - defaults to 50% - move it higher to get the amp model behaving more like CLASS A, and move it lower to get it to behave more like CLASS A/B. BIAS EXCURSION - defaults to 50% - varies how far around the BIAS value the model will vary. 0 means it will stay on the BIAS value and not vary. ER - is the amount of ambient room reflection is mixed in with the modelled mic signal, most default to around 12%, but you can move it to zero if you don't want any room reflections in the sound or move it higher if you want to simulate modelled mic further from the cabinet. RESONANCE and THUMP both default to 50% - and they add a boost to the low end frequencies (warmth and body) and also volume which tends to accentuate the higher frequencies as well. Set both to zero if you don't want that added boost and warmth. RESONANCE value controls how much the THUMP value affects the overall sound - so lower values mean less effect - higher means more. The default values are probably too high and you may find a better value is 25%. Again experiment and see how the parameters affect the overall sound. At the end of the day it's your ears that have to decide what you like best and what are the optimum values for the DEP parameters for your setup and use. Hope that helps.

I understand your situation, although I only have the l2m. The L6 link digital audio provides a much louder signal, than the 1/4inch outs, and they in turn provide a louder signal than the XLR outs which are only mic level. I think both the XLR and 1/4 inch outs are designed to go via a mixing desk where the signal can be boosted by the channel trim control or direct to an instrument in or fx return of an amp. I get much more volume out of my l2m with the l6 link, it's just disappointing that the only way to use a global EQ with it is to use the FX loop and lose an fx block.

You can set up two separate paths using two different amps within one patch. You can still only add another 8 fx blocks in total divided in whatever order you like between the 2 paths. However, there is only a finite amount of DSP and it is not sufficient to run every possible combination of amps plus 8 fx at one time. The unit won't allow you to allocate more DSP than is available so you will get a warning message when you attempt a combination that pushes it over the limit. The amps all use varying degrees of DSP, and so do the fx, so you can pick models that have lower DSP needs and maybe use all fx slots. Each category has a range of models to choose from, so just mix and match. With the new optional purchase HD fully loaded amp bundle there are a number of XT/X3 amp models that use less DSP than the new HD models, so there is plenty of choice. Bottom line, don't expect to be able to do everything you can think of with double amp patches, be prepared to experiment and compromise within the hardware limitations of the unit. If you only use one or two fx with your amps then you should have no problem dialling in plenty of options.

Wow. I understand why Global EQ could not be made available for L6 link output options within HD500/HD500X units - it was a user requested feature added well into product life cycle and the design architecture and DSP considerations ruled it out. However, I don't understand why the l2t and l3t Stagesource speakers designed with on board 3 band EQ for inputs would not also allow that EQ to be used on the L6 link input audio. Surely at the very least it should have been a switchable option to make use of the on board mixer and EQ for l6 link input audio. Perhaps they thought that l6 link input audio would always be EQ'd on the source device so would not need to be EQ'd on the Stagesource speaker but completely overlooked the need for global EQ adjustment for different venues and the benefit of offloading DSP used for EQ to the Stagesource speaker? So dream rig users have to choose between l6 link digital audio quality, Stagesource mode functions and routing OR global EQ using the XLR or 1/4 inch outputs on HD500/HD500X and XLR or 1/4 inch inputs on Stagesource l2t/l3t.

Maybe I am missing something here, I don't own the T model Stagesource speaker, but from product description on l6 website it says both l2t and l3t feature a 3 band EQ ..... Does the onboard EQ only work for the inputs on the Stagesource unit? So they don't affect the digital input coming through the l6 link connection? I know the hd500 global EQ does not affect the l6 link output, so do the EQ controls on the Stagesource t units also not affect the l6 link input signal?

Thanks katiekerry! :)

Thanks! :)

I have just received my vintage style tail piece which looks identical to the one you used. When I placed it next to the body I could see that the fixing for the edge is deeper than the JTV59 body width and also does not have a center hole drilled for the guitar strap screw to fit through. Did you drill your own hole in the fixing to line up with the guitar strap button? And did you cut off the edge of the fixing to make it match the JTV59 body depth? Thanks.