Digital_Igloo

I wasn't around for the initial HD cab listening tests, but from what I gather, any optimization and filtering has negligible sonic impact on the resultant tone. "Optimization and filtering" doesn't imply any sort of sonic maximizing or EQ. The point is that an HD cab block can't simply be replaced with a user or third-party IR.

Selecting "No Cab" in POD HD500/X completely bypasses it. Make sure the output mode is set correctly, however. For FRFR use, Studio/Direct will likely provide the most satisfying results, but as always, trust your ears. The HD's cabs are indeed based on convolution, but we didn't just slap an XXX-point IR in there. There's a lot of clever tweaking, filtering, and optimization to get the most out of our cabs (perhaps akin to what Cliff does with AxeFX II's Ultra Res IRs—within the confines of HD—but I'm not sure), and unfortunately, there's no easy way to apply the same process to third-party or user IRs. Hence, there's no way for third-party IRs to take up the same DSP resources as the stock cabs.

Haven't done the math (much less a conversation with engineers to confirm), but a rough guess would be a 512-point IR is the ideal size for that particular scenario. Thanks!

What's the desired sample length for a light version IR? What's the desired sample length for the highest resolution IR? Currently, sample truncation for IR playback in hardware ranges from 256 (Digitech GSP1101 with 3rd-party firmware) to over 65,000 samples (Logidy EPSi in cab mode). The Two Notes C.A.B. truncates user IRs at around 900 samples and IIRC, Fractal started out at 512, and now truncate at 1024 (normal res), 2048 (high res), or 8000 (ultra-high res). Again, a single mono 2048-sample IR may eat up more than half of HD500X's DSP, as it uses a different type of technology as the Logidy.

That's like saying Apple repackaged their old stuff and called it an iPhone. ;) Okay, maybe not, but there's a lot more to the promise of AMPLIFi than its POD Farm 2.5 modeling engine.

No. Line 6 has chosen (and continues to choose) open, dynamic block assignment for its flagship modelers. There will always be situations where, depending on the types of models assigned, DSP limits are reached. Alternatively, more than one—likely several—of the following scenarios would need to take place: • Remove half the block locations so the user can fill each one with pitch shifters or spring reverbs • Limit the user to only one of each type of effect • Remove the more DSP-intensive models entirely • Use a less DSP-intensive modeling architecture, or limit the quality of the more DSP-intensive models • Remove parallel signal paths • Restrict the order in which blocks can exist • Remove non-model features that also take up DSP, such as input routing, output routing, Variax VDI, L6 LINK, USB audio, the Looper, etc. • Charge a lot more for multiple processors and the cost of developing for multiple processors • Charge a LOT more for Tiger Sharc processors and the cost of developing for Tiger Sharc processors If one is still more concerned with the occasional DSP Overload message than with the items above, AMPLIFi FX100, POD HD300, and POD HD400 all utilize fixed block assignment. HD500X and HD ProX were opportunities to incrementally improve on the already immensely successful POD HD platform. They were never a "oh no, we need to do this"; they were a "this is cool—why don't we do this?"

No one? Our research has told us the only people who care about IRs are a small subset of people on forums. Could it be that even they don't care about IRs? Or they simply don't care about sample length?

Already posted this on IdeaScale, but let's try it here too: What is everyone currently using for IRs? Note that software allows for much longer impulses than existing hardware solutions. One cab emulator pedal truncates third-party IRs to around 900 samples; another truncates at over 65,000. Several third-party IR libraries are at 1024. The unofficial GSP1101 firmware truncates IRs to only 128 samples (!). So yeah, they're ALL over the map. A 2048 sample IR may very well eat up more than half of the DSP (it's nowhere near a block or two), so it's important to understand (for us and others) where the ideal compromise in sample length lies.

This is the critical comment here. Many of us at Line 6 obsess over workflow, and M13 and HD500/X are very, very different beasts in this regard.

The XLR outputs on POD HD500X are mic level—that is, they're designed to be sent long distances (without the need for additional DI boxes) to the front-of-house mixer and then boosted with mic preamps. The 1/4" outputs are line level, which is much higher. If you're running directly into studio monitors, definitely use the 1/4" outputs.

There's a trick: 1. On the Setup > MIDI page, set MIDI Out/Thru to "OUT" 2. Run a (preferably short) MIDI cable from HD500/500X's MIDI OUT back to its MIDI IN 3. On the MIDI Assign page, from the desired footswitch, set: • MIDI CH to "Base" • Message to "Bank Change" • Bank # to the desired Setlist: Bank #000 is Setlist 1, Bank #001 is Setlist 2, Bank #002 is Setlist 3, and so on 4. From that particular preset, step on the footswitch. POD HD500/500X will jump to the specified Setlist Of course, this implies that you must program the desired setlist into each and every preset from which you may want to access it. Alternatively, you can create a "Bank Jump" preset (at, say, 01A in every Setlist), with Footswitches 1-8 assigned to select Setlists 1-8.

Yes.

There will not be a "POD HD600X" ;) AMPLIFi is not a replacement for POD HD500X or POD HD Pro X, although its workflow is very different, so it may fulfill the needs of people who may have previously been looking at HD500X. The PODs are still our flagship processors.

This might sound odd, but make sure your POD is connected to a dedicated USB port on the back of your computer. Don't use any sort of hub (including front ports, which are often considered hubs).

Even if modeling was 100% perfect (that is, not one golden-ear professional could ever double-blind differentiate between real and modeled with regard to both feel and tone), perception bias and the placebo effect would still be very strong nuts to crack. So no, everyone still wouldn't be using it everywhere.

Perhaps, but I haven't seen too many tube amps in living rooms, streaming MP3s all day. Admittedly, it's difficult to compare AMPLIFi to other amps, because its approach to how and where people play guitar (and ideally, how often they play guitar) is unique by design.

Unfortunately, POD HD500X cannot send S/PDIF and L6 LINK simultaneously. When the DT25 is turned on, it tells POD to send digital audio via L6 LINK instead of S/PDIF.

You could of course use your Crybaby as a wah pedal into the guitar in. Or if you prefer to place it anywhere in the signal chain, use the HD's FX loop. Personally, I use EXP 2 with a Mission Engineering EP-1L6 to tweak five or six parameters at a time. It's bugnuts fun to crank the tape delay feedback, drop the delay time, boost the reverb depth, bring in a bit of the sub bass, and nudge the fuzz up a bit—all at once.

1. Three places—On your iOS device (unlimited number of tones), on the cloud via your Line 6 account (unlimited number of tones), and in the amp itself (four of your favorite tones). 2. Correct. The AMPLIFi app uses metadata in the song file to call up the correct tones, and we've found that the masses do a pretty remarkable job policing themselves when it comes to rating tones up or down. And of course, if you don't agree with the masses, AMPLIFi is smart enough to always recall your favorite tone associated with a particular song.

Ha! I was just about to paste that reply here, charlyg, but you beat me to it. Cheers!

Tony's right—many of us read IdeaScale (and the Line 6 Community forums) every day. It's important to understand that new products or feature updates to existing products don't appear overnight. I can guarantee, however, that quite a few IdeaScale submissions have made their way into the development pipeline. We are definitely listening.

Yep—110-ohm XLR, which is effectively AES/EBU. Be careful if you buy DMX cables online—occasionally they have 4 pins.