pianoguyy

I don't know the M's first hand, but there are a couple different ones. Used prices and availability vary. Obviously, if you can buy a used HD500, that negates the Ferrari example - in terms of finances. But, it still is a valid point. You are buying a modeler, and not using the modeling. So, instead of a $400,000 sports car for something that a Hovaround will suffice, let's say.... You want to buy a bulldozer to transport your children instead of hauling two tons of concrete. Just about anyone can do effects. Line 6 is the modeling company. You buy L6 because you want to model.

I've given that same piece of advice so many times (as someone said in the next post) that I don't always type it all out... I use headphones on the Pod. Play your mp3. Adjust your mp3 player volume until you have a comfortable volume in your ears. Not too loud, don't kill your ears. Not too soft, be able to hear each and every little thing you need to hear. Remember what song/file you used. Remember what number your volume is at. Always use that song. Always use that volume. Always use the same guitar. Always use the same patch.

I was going to say the same thing --- buying an HD500 and not using the modeling is like buying a Ferrari so that you can drive up and down the driveway to check the mail. But, to answer the questions --- 1. I do not recommend that anyone ever use the HD500 for a gig the day they buy it. The HD500 is not "user friendly". Well, at least, not at first. But what happens is, after being thoroughly confused for a month or two (based on usage, experimentation, and experience) you will have this moment of clarity and it will all make sense. From that moment on, the HD500 will be your best friend and you will kick yourself for not understanding it sooner. 2. Each patch can have 8 effects. I do not use 4cm, but I believe the fx loop counts as an effect. Amp modeling is not counted as fx. You can have 512 patches. So, as long as you do not need more than 8 effects for one song, you can easily use the unit.

"We are hear lot people saying" I've never heard anyone complain about that.

9 minutes of music and we are to know which part you are referring to? For example, in the first song, the lead line sounds like someone is using a neck pickup with the tone knob turned to 0, with the solo (I assume the same guitar) sounds like it adds a wah that is somewhere between the middle and heel down. But then you also have the muted guitar lines. Or the chording guitar. And the second song sounds like a single coil guitar - like a Stratocaster. Could you narrow it down for us?

I have a blank patch, blank setlist, and blank bundle. I can erase 1, 64, or 512 at a time.

Well, actually, with the latest firmware, there would be 6 factory set lists, and 2 user lists. Not 3 or 4 as you claim. But, to answer your questions as to how you get rid of it.... The same way as you get rid of any patch or setlist. You know how to do that, right?

then you have a completely different problem, even though it is the same answer.... The Pod does not control the volume from the cd input. You'll need to control it with the playing device.

Read this http://line6.com/support/topic/10819-usb-output-to-pod-hd500-too-loud/?p=163688

Sure, it should be clear --- you want to use a pedal instead of a whammy bar.

At least you know the effect name. Good job. So, to answer the question ----- The Pod is limited to 8 effects. You can turn all 8 on and off with one switch if you want. On and off does not mean only on and only off, you can assign some effects to be on while others are off --- example, turning chorus on when turning distortion off. You assign any value to any effect to be controlled by the expression. You can have 2 expression pedals, even if you only have one. But with one, you are limited to controlling one at a time. If you want to run the volume and "whammy", it is possible. If you want them at the same time but not always together, it is possible. If you want to run them separately, it is possible.

Whammy is also what 5 year olds call the tremolo bar -- which, technically, oddly enough, shouldn't be called a tremolo.

What the hell is a whammy? Maybe you should consider learning how to play before you try programming electronic toys.

When I go on stage, I am not playing for myself. Nor do I pay myself. I am playing for the fans, they are also the ones that pay my salary. Because of that, you must always be more concerned about what they see and hear. If your stage sound is a little muddy, that's fine. As long as FOH is good. All you need to be able to do is hear yourself. Tone doesn't matter at that point. By the time you get on stage, the time for tone adjustment is over. So... Build your tones for XLR direct to the PA. What you do from there for the stage sound is of little consequence. I mean, hell, you could buy yourself a nice set of ear monitors and tell the stage amps to take a hike.

I laughed at the guy simply because of his ponytail, but all of that "I have a small lollipop" rhetoric made the moment all the better.

I use a Pod, could somebody give me some insight into the evolution of the market economy in the southern colonies. My contention is that prior to the Revolutionary War, the economic modalities, especially in the southern colonies, could most aptly be characterized as agrarian pre-capitalism...

More importantly, why does "booking shows" mean that you have to stop going direct?

WHAT DOES THIS HAVE TO DO WITH THE POD . .

That is ALWAYS my first guess. But why state the obvious - especially when there are other possibilities.

sound test - Plug an mp3 player into the MP3 jack. Play a file. Sound will come out regardless of any other setting. If it doesn't...

Sure. But most people use XLR to the PA. Which is why you need to remember to use a 2nd 1/4" - to activate the 1/4" stereo separation.

No one can stop you from selling your model packs.

XLR is still lower output than 1/4". That is normal in the music world. And it is plainly explained in the manual. But that is different than what I said about using only one XLR.

Rule number one - there are no rules. There is no right or wrong. There are only suggestions based on has been previously tried by those that come before you. So... With that being said, there is nothing wrong with doing 100%. It certainly is easy to always have the volume at the same place with you know that the knob can go no further. I do not do 100%. I have a method I use that works for me. This method assumes that you have at least one patch created/downloaded. And are willing to be "routine" about it. The mp3 input is not controlled by the master volume. So this is what I do: 1. I plug an mp3 player into my Pod. 2. I set the mp3 player volume to the same number every time >>> which, I learned what number works best by using headphones with the Pod while the mp3 is playing - perfect headphone volume, not too loud, not to quiet. 3. I use the same mp3 file every time. 4. I use the same guitar every time. 5. I use the same patch every time (which is why I said that you need at least one patch). 6. I play along with the mp3 file. 7. I adjust the Pod's master volume so that my playing volume matches the volume of the mp3 that is playing. That is what I call my "baseline". I use it to create patches. I use it for live playing. I use it for everything. But it only works if you always use the same components. -- all things need to stay the same, otherwise it is not a baseline. By having all patches based on the same "baseline", I can judge where I need to go. Sometimes I want a patch to be a different volume, I know to compare it to the baseline. Sometimes I want to use the same patch, but with a hotter guitar to get a hotter tone, which wouldn't work if I already created the patch with the hot guitar and plugged in a flat guitar. Sometimes a room needs more equalizing at the PA, by using the same "baseline", they can make adjustments accordingly. All things get based on the baseline.

but it is still technically "half the signal" through the XLR because the XLR is always split into left and right >>> I am starting to believe that this "half" issue is sort of being mismanaged and explained poorly to a new user. Think about your headphones --- you have one left and one right. If you run your pan at 0, there is no left/right separation in tone. But you still have a volume difference if you, as example, are only listening through only one side. That is sort of what XLR is doing. XLR is always split into two separate signals, the same as headphones are always split into to signals.