littlespaceman

ps, just below all of that in the MIDI implementation table, it also shows that CC# 29 turns the reverb on / off. To my mind the text in the 'notes' box should also say 'DOES NOT match button behavior' as you can't access the deeper functions of the reverb button on the amp by using MIDI either...

I've now had a play with a MIDI app / iPad to see what these things do, and it seems that in '1)' it would have helped to add the word behaviour, so what it really means is 'Matches physical knob behaviour'. From what I can tell, it doesn't matter where the knob is positioned on the amp, the MIDI controller will give you the full range. So even if for example the amp Channel Volume knob is at 0, the MIDI controller can give you, as you say, from full off to full on. One really nice feature is that if you assign an expression pedal to a function like amp gain, in the Edit app you can set what the range of the pedal will be (so for example it doesn't have to be full off to full on, you might have the minimum at around 30% gain, and the max at 100%. Re the bit where it says 'Controls bypass state of the Effect (DOES NOT match button behavior)' I think I've cracked it; the effect button on the amp can has a secondary mode if you press and hold it in; I think 'DOES NOT match button behavior' means that you can replicate the 'Effect Bypas/Enable' function of the amp button by using MIDI (CC#0-63=off; 64-127 = on) but you can't access the deeper functions of the amp button as there is no way to replicate the 'press and hold' needed to do this using MIDI?

Thank you Soundog. I thought the limitation might be that Garageband doesn't transmit MIDI, so I tried recording a MIDI track with PC messages from my Boss RC5 Looper. I then tried to play this back through the amp, hoping it would recognise the PC messages embedded in the GB track, and change amp patches. But no luck. I've also tried to use the Audio MIDI Setup, but again didn't get anywhere with that; I was hoping the Audio MIDI would allow me to send simple PC messages to the amp, but again no luck - probably because I still need a 3rd party app like Pocket MIDI to the set up, which I didn't know until your reply. The eureka moment came when I found a free iOS app that I found called MIDI Wrench. Using the iPhone camera kit, I managed to get any PC or CC message in to the amp's USB socket. So I've now had a good play around to see what the amp can do and it's pretty cool - but it's only a way of testing things work, not a real solution, as you spend most of the time dragging your finger up and down the iPad screen to send the messages. Anecdotally, modern wide-body aircraft like the Dreamliner are basically fixed using iPads too - the engineers literally plug the iPad in to the jet when there's a fault, to diagnose and remedy it. Long gone are the days of 'impact technology' - or in other words, fixing things by giving them a whack with a hammer ;o)

Can anyone tell me how I can send MIDI in to the Cat 60W USB via a Macbook. I want to test/play around with the MIDI on the amp, to make sure my cables are good before I try the same cables using a MIDI footswitch (which I'm yet to get) I'm pretty clued up with this sort of thing usually (I fly commercial jets for a living!) but this MIDI via USB thing is totally doing my head in! For clarity, I'm using a MacBook Pro, with GarageBand. All I want to do is send a simple Program Change message from the MacBook to the amp. I don't have Logic or anything like that, so it might be that I'm limited by the software. But surely the MacBook is capable of sending a simple PC message to the amp?

In the catalyst MIDI implementation table, it says that MIDI CC13 controls the amp Gain control using a value/range of 0-127. It then says in the notes column 'Matches physical knob' (this is also the case for Bass, Mid, Treble etc) I have a few questions; 1) Can anyone explain what this means? It's quite ambiguous to me; does it mean that if the Gain knob on the amp is set to 12 o'clock, then regardless of what MIDI value you have programmed in to your MIDI controller, the maximum gain you would get is whatever the Gain at the 12 o'clock position would be? So to be able to get the full gain range using MIDI you need to have the amp knob turned to maximum? 2) Boost: MIDI CC# 25 controls Boost Bypass/Enable, and in the note column it says 'Controls bypass state of the Boost (matches button behavior)'. Again can anyone explain this? 3) Effect: MIDI CC# 28 controls Effect Bypass/Enable. This time the notes column says 'Controls bypass state of the Effect (DOES NOT match button behavior)' Same question, can anyone translate that in to unambiguous plain English please? Thanks in advance

My Headrush (MX5) uses TRS MIDI ports, so I'm actually going to try a TRS to USB C cable, with a USB C to USB B (male) adaptor to see if the Headrush will transmit PC messages to the 60W. I'll report back! Again though both the MX5 and the Morningstar require power (as does the Ampero in fact) so not my ideal solution as the Catalyst seems to be all about being a simple plug-n-play sort of amp, so in keeping with that I would really like to be able to use a simple footswitch (ie one with no power cables etc) in to the amp to access all the 12 channels, and maybe to turn delay on/off - and that's really all I need the MIDI for. So it's a shame that more channels aren't available using the A/B channel-change footswitch...

Very tempting - and you can also run it at 0.5 watts, which on the 60 seemed plenty loud enough for home use. Then I have to work out if I keep the Powercab and use the 100W as a second speaker for a stereo rig, or sell the Powercab and accept the Cat 100 allows me to power-amp my Headrush albeit not as FRFR :oI It's just a shame the 60W doesn't have the 5 pin MIDI...

Thanks Soundog. Cheaper (but not much!) alternatives to the Airstep are the Ampero Hotone Controller or the Morningstar MC3. Neither say they specifically act as a host but both can transmit MIDI via USB B so I assume these would work too? Both rely on mains or USB Bus power though, so that's not quite the elegant solution I was after, whereas the Airstep is at least rechargeable (I can't imagine MIDI footswitches use much power?) Regarding the host-board, I'm still not clear on how that works; is the idea that if you are using a non-host MIDI controller, the host-board goes between the controller and the Cat 60 to make the controller act as the host? Presumably you mount the host board in an enclosure (a cheap plastic or aluminium hobby box from eBay/Amazon?) How do you connect the host-board to the non-host controller though? Do you have to add another USB connector to the circuit board? It's all starting to make me think the Cat 100W is an easier option - or that they could have included a 5 pin MIDI port on the 60 :oI

Can't see a reference to this anywhere, but does anyone know if the USB B port that is used on the Cat 60 will power a USB MIDI footswitch that can run off USB bus power? Or in other words will the USB B on the amp provide power?

Alternatively, will something like this do? https://xsonicaudio.com/pages/airstep The blurb on the website says; USB HOST: USB HOST is a unique function of AIRSTEP. In this mode, AIRSTEP's USB interface is equivalent to the USB on the computer. It means that you can plug-in devices that can be controlled by the computer. Many hardware effects only have a USB port, which is only controlled by a computer, like the ZOOM MS Series, now you can use AIRSTEP to extend more footswitches for them It's not a cheap option though, the same price as the amp! But I could also use it with other units such as my Yamaha THR 2 so it will get some use

Thank you both. Soundog, we are reaching way beyond my MIDI knowledge here! So if I get this right; 1) the Catalyst 60 requires a USB MIDI unit that can act as a 'host'. 2) If the MIDI controller can't act as a host, the hobbytronics board will do the job. How do you attach the hobbytronics board to the MIDI controller though? That's the bit I don't understand.

Just starting a new thread about this (leading on from the conversation on the '60w or 100w? (can't decide)' thread also on this page) Can anyone help explain exactly what I can do with the USB MIDI port on the 60? The manual indicates I can hook it up to my laptop, but I don't want to use it with a laptop or a phone, as I only want to use MIDI to access the full range of Catalyst presets so the MIDI controller needs to be foot activated. 1) I'm assuming I could use a USB B (amp end) to 5 PIN MIDI cable (MIDI controller end) but I've looked everywhere and from what I can tell such a thing doesn't exist. 2) I'm away from home at the moment but when I get back I will try a USB A to 5 PIN cable, with a USB A - USB B adapter, but my research tells me that won't work even before I try it :o( 3) I also can't find a MIDI foot pedal that will take a USB A to USB B cable (the same cable I would use to send MIDI signals from my MacBook) Does such a thing exist? So to summarise, can I get MIDI in to the 60w using the USB port using a footswitch or does the USB MIDI on the amp mean I really am limited to using it with a computer or mobile?

I bought a Catalyst 60W, but wonder if a bigger Catalyst (probably the 100) would make a good all-round replacement for a PowerCab to use with my amp modeller (currently using a Headrush. Shhh!) using the 'Power Amp In' mode. The difference of course is the PowerCab is FRFR, but the Catalyst isn't - has anyone managed to compare them, sound-wise, when used as power amps for an amp modeller?

I bought the 60w, as I already have a PowerCab 112 +, and figured I just want a simple 'plug and play' amp. And the 60w is definitely that. But I can't help but wonder why they couldn't have put a 5 pin MIDI port on the 60 - there's plenty of room for it, the 60 is actually not that much smaller than the 100. So now I'm wondering about for a swapping 100w instead - although as soundog says, 100w (regardless of using the attenuation switch) is probably far too big for home use, which is where I plan to use it My question is though, can anyone help explain exactly what I can do with the USB MIDI port on the 60? - I don't want to hook it up to a laptop or a phone, as I only want to use MIDI to access the full range of Catalyst presets so the MIDI controller needs to be foot activated. - But I cannot find anywhere a USB B to 5 PIN MIDI cable. In fact from what I can tell such a thing doesn't exist. When I get home I will try a USB A to 5 PIN cable with a USB A - USB B adapter, but my research tells me that won't work even before I try it :o( - I also can't find a MIDI foot pedal that will take a USB A to USB B cable (the same cable I would use to send MIDI signals from my MacBook) Can I get MIDI in to the 60w using the USB port using a footswitch or does the USB MIDI on the amp mean I really am limited to using it with a computer or mobile?

https://www.ebay.co.uk/itm/LINE-6-POD-GO-MULTI-EFFECTS-PEDAL-9V-3A-POWER-SUPPLY-ADAPTER-REPLACEMENT-UK/164036024339?hash=item26314f1813:g:V~MAAOSwvx1bqlj- I've just been looking at these on ebay - has anyone used one yet? I like the fact it has an in-line plug rather than a 90 degree one, and the wire does look a bit stronger than the OEM one, which I agree is too short and too flimsy

Thanks again, a very helpful reply. Overall, I agree with you, I'd like to use the Go as my main unit - after all it's the one you can sling in a bag and take anywhere, and it's more capable than the Mustang in most ways (although I do like the way that the Mustang looper is global - shame they didn't do that on the Pod Go) - and I think the amps are probably a bit better. Don't underestimate the Mustang (at least the GTX version) for tone though, IMHO it really is a great sounding amp... ...buuuut, as you say not using the Go's amp section kind of defeats the point of having it, so all I really want is to justify keeping the Mustang by using it to add to the number of effects the Go has (and also adding a looper that doesn't use a block within the Go's signal chain) And if that's too complicated then maybe the amp is off to eBay ;o) 'You could plug to Amp effects in to bypass everything'; I've tried this and it does sound great, and works well - and I can use both the Go and the Mustang loopers independently (I presume the Mustang looper must be after the FX loop, and is also global) so I think I'll probably stick with this method... "Note that effects connected to these jacks are “global” (not preset-spe-cific) and will act as the last elements in the signal path. Well not sure if it works exactly as it says in the manual, but if it does, that would be quite limiting..."; It does seem to work exactly like this, and it is a bit limiting. Would you agree that by designing it this way, Fender assume that you don't need extra distortion or gain and that you only might want to add external modulation effects? "What are you trying to use off the Mustang?"; I think I was just in pursuit of the satisfaction I get from making something work as I think it should. And it seems to two fx loops are incompatible, so I failed in this particular quest!

Hi, yes I did - it was set to 'instrument' (is that what you meant?) If I use the amp with another pedal I can get sound using the send/returns in mono or stereo. If I use the PG with another pedal I can get sound using the send/returns in mono or stereo. BUT If I connect the send/return of the PG and the amp to each other, I can't get any sound at all; plugging cables in to the amp send and the amp return kills all sound unless you complete the send/return 'circuit' by placing a pedal in the loop. Plugging cables in to the PG send and the PG return kills all sound unless you select the FX loop block to on (in either mono or stereo depending on whether you are connected in mono or stereo) But when the two are connected together I get nothing at all, it's really odd...

Thanks for the reply; I can use the Mustang as power amp and speakers very nicely by plugging the guitar in to the PG and using the PG send to the amps return (and not plug the amps send in to the PG return) The beauty of that is that I can use both the PG looper and the Mustang looper at the same time (if I put the PG looper before the FX loop) The downside though is I can't use any of the Mustang's effects to add to what the PG can do, in which case I'm starting to wonder if the Mustang is now surplus to requirements - it does sound great and is very capable but not as user friendly as the PG. One thing that is really weird is if I connect the PG to both the send and returns (the amp has a stereo loop too) I can't get any sound out of the amp at all. I've proved that the amp send/return works by plugging in a different pedal in to it's FX loop and that produces sound exactly as you'd expect, but when I plug the PG in, there is no sound at all (I have checked that the PG FX return is set to 'RETURN' and not 'AUX IN'. Could that be just some weird incompatibility issue between the two digital units?

Hi. I usually use the PG through a pair of monitors, as a home substitute to set patches for using a PA. However I also have a modelling combo (a Fender Mustang GTX50) and I'm struggling to get my head around trying to come up with a good set up that would allow me to use the PG and amp together; and I should say that what I really want to do is make the PG my main unit, and add the Mustang to it to bump up it's capabilities a bit, rather than the other way around. Part of the problem is that the Mustang (stereo) FX loop is at the end of it's signal chain; as far as I know this is unusual as on a traditional amp with an FX loop, the loop will between the pre amp and power amp stage. So the problem I want to work around is the limited number of blocks you can use in the PG (4, because for some reason EQ is a fixed block, and the looper is not global) and I want to solve this by adding some of the effects that the Mustang has built in. I'm a bit confused though; my questions are; 1) if i connect the PG to the amp FX loop, am I right in thinking that the only thing that decides which is the 'master' and which is the 'slave' is which of the two (PG or amp) I have my guitar plugged in to? What I mean here is when the two are connected, what is the difference between the PG being in the amps FX loop, or the amp being in the PG's FX loop; is it just dictated by which unit I've got the guitar plugged in to? 2) If the Mustang FX loop is at the very end of the signal chain, then am I right in thinking; a) I can use the PG to expand the number of FX in the Mustang, but any of the PG FX that you would usually place BEFORE the preamp (such as distortion pedals) will probably sound rubbish, because the Mustang FX loop is at the end of the signal chain, so they will be downstream of the preamp. But PG modulation and delay should sound ok. In this example my guitar would run straight in to the Mustang input. OR... b) I can do things the other way around and 'expand' the number of blocks I have in the PG by putting the Mustang in the PG FX loop, and for example use Mustang distortion stomp boxes (and they should sound ok IF I set the PG FX loop to be BEFORE the PG amp/cab blocks) In this example my guitar would run straight in to the PG input, and I would be using the PG amp/cab models and modulation fx. 3) Is this confusing situation a generic problem if you are trying to use a multi FX unit with a modelling multi FX amp - because the assumption is that most of the FX you will use will come from the amp itself (And if the FX loop is at the very end of the signal chain, is Fender assuming you don't need more distortion, only more delays etc)? 4) Would the 4 cable method overcome this problem? (I'm not super keen to use that method as it's messy, and with young children at home, too many cables lying around = more risk of one of them breaking something attached to one of them!) 5) Would I be better with a more traditional combo with an FX loop, rather than trying to make very simple use of the Mustang, which is actually very capable (and good sounding) amp? I hope that all makes sense and hasn't confused you as much as I am! Thanks folks

The top right foot switch on the Pod Go has 'MODE, EDIT/EXIT' written under it. I get that the word 'MODE' shows that you can use that button to switch between Stomp and Footswitch modes, and I get that the word 'EXIT' shows that you can use the button to exit the looper or Snapshot mode. However, why is the word 'EDIT' written there too? I can't see any way of entering the EDIT mode other than using the Home button (and annoyingly I can't see anyway of exiting the Edit mode by using anything other than the Home button too ie you can't seem to exit the Edit mode with a foot switch. Am I missing something here?

Just go my Pod Go after the whole of the UK was out of stock, worth the wait - I'm having lots of fun with it (I actually sold my Helix to buy this; and I've already used it more than I used the Helix; loved the Helix but it was actually too capable for my needs!) One thing I really don't like about the Go though is the power supply 90 degree plug; when all the other I/O cables are straight, I find the 90 degree plug is really inconvenient - it gets in the way of the on/off switch (which is a nice touch by the way, as I understand not many Pods have had one? Switch is a bit flimsy feeling though) or the USB cable if you feed it in from the other side. I've seen pictures online of Pod Go's with straight plugs from the power supply, does anyone know if these are available, or is anyone using a 3rd party non-OEM supply? (I do know Line 6 recommend you don't...) Thanks folks

Silverhead, actually that's a really good point, and something that also affects my experience of the looper as it is on the Helix. Datacommando, unfortunately I may have to return the Ditto, has a weird glitch where the volume of the already recorded loop drops completely when you play / record something else over it. Now THAT is making me go loopy!

Thank you, I appreciate that - and the reason I've continued this thread is that I've only just come across it (actually whilst doing a Google search for how to implement a Ditto stereo looper in to the FX loops, as that's what I've at last decided I have to do) Perhaps the fact that I've decided to comment on a thread from 2016 actually in itself makes a statement - that the the original point that started this topic is no less valid now, and in fact is possible more valid as people's expectations evolve? Again, let's see when Helix 2 comes out (which can't be that far off?) If competing products are all including longer loopers, then to some degree that 'forces' Line 6 to at least consider that doesn't it?

Because the Helix LT didn't exist when I bought the Helix...

I didn't - I bought a unit with a huge number of internal effects of a very high quality. The FX loops were in no way a part of the decision making process for me...