Jump to content

L6_KnowItAll

Members
  • Content Count

    4
  • Joined

  • Last visited

  • Days Won

    1

Everything posted by L6_KnowItAll

  1. Well after reading the posts here, I thought I'd weigh in and offer my knowledge from using every piece of L6 hear other than FX pedals from 2003 thru 2012. I will say that I first of all hope anyone using any POD unit connected to any DT amp is using a digital 3-pin cable, not a typical mic cable. The mic cable is for analog signals, and because all the Line 6 gear is digital two way communication...it needs to be a digital cable connection or eventually you will cause unwanted failure with the POD or the DT. I brought this up back when the POD pedals and DT Amps first came onto the market. It's honestly common sense any lighting tech can tell you why all lighting gear uses only digital 3-pin XLR type cables for all connections. Yes, any POD patch whether single or dual amp will only come out through channel A and override all knob settings except the Reverb & Master Volume for that channel. Channel B, if used wisely, can actually give you a three amp patch by setting any free toggle (1 - 8) as a bypass (or single or dual amp off) by making certain that when in the Variax editing software, or on the unit directly, the master volume on each channel is set to produce any patch or channels direct amp sound to some more than zero. For example... In building a triple amp patch for making songs that require many changes, I start with a modeled amp ( I prefer "pre" just because it saves on CPU usage.) I've read many who say that in pre mode the cabinet and mic choices/settings don't work. Ah, but oh yes they do just as if you chose a cab and a mic as well as the distance from the mic from the cab. Try it and learn for yourself. And if any wish to challenge my statement, I can make a video and let everyone hear that all can choices and mic choices and even the cab resonance, thump, & decay plus ER level, Low Cut Q, & mic type. Moving on...in my triple amp example, my first signal chain will have a clean rhythm sound with a simple delay and analog chorus for just a bit of "width" to the sound. Then I make my second signal chain with a gritty medium gain type of typical 1970s Marshall sound with a noise gate, simple digital delay with a bit more feedback and higher mix parameters. Then for the DT channel B amp sound, I choose Mode IV which is the highest modern gain, depending on what I need for the song I'm doing. I more often choose Class A so the drive happens sooner at lower volumes and sweet as hell for soloing and set each knob from gain thru to master volume to get the basic tone I want. Then I go into the editing software or the units button controller menu, I set both amps to turn off. Whatever FX AFTER the mixer can/will be sent to the B channel. Plus if any other FX you might want only for channel B will turn ON. All on ONE button. Any FX before the mixer gets shutoff with the amp shutting off. After the mixer they stay on in the signal chain. Now you can add as much as your CPU and slot usage allows for your dual amp patch, plus extra FX for only use when Channel B is on. All this happens with near zero lag time and if you switch to the B channel patch before the song begins it happens even quicker if it doesn't need to change topology or Class. Channel B will recall the LAST (and only the last for every patch without changing knob settings on channel B) SETTING OF EACH KNOB except Reverb and Master volume. And that's how you get three amps from a dual amp patch based on how Line 6 designed their gear. I've tried to let everyone know what the dream rig is fully capable of being like a triple amp rig back in 2010, but it seemed no one thought much of my findings. And for all these years since, I've been getting my gear to do more than most every other Line 6 gear user/performer has. I don't have any of the newer "X" POD units and with all the CPU overload frustrations we were having with the original POD units, I found this was a terrific way to get more without doing anything more than understanding the gear inside and out, plus just how important using the very powerful Editing software can be and help build patches much quicker & easier. Now you can too if you give my suggestions a try. And just to complete my own personal preference when using my DT amps. The POD unit automatically defaults to Combo Pwr Amp as its output. I have learned using that option can be a nightmare on stage and through a PA. The XLR outputs are always giving full modeling including Cabs/Mics and as I said even is "pre" mode. Using the default mode caused great sonic and even volume differences in the PA than what you are hearing on stage. Even worse if you build a patch with headphones, then plug into a DT amp. When it switches to its default setting, your patch will not sound even close in tone to what you made with phones or through any line out amp/speaker system. I've found the best way to deal with this, is to create your patch using any way you wish from phones to line amps to the DT amp is to ALWAYS use the Studio/Direct output setting. This way what you hear on stage will match your PA sound no matter which output you choose to send from the POD unit XLR or from the speaker emulator DT amp XLR output. Consistency is the benchmark of a more stress free musical life, happy players, PA engineers as well as happy listeners since all sounds from the stage through the PA match as well as possible. This contradicts many of the recommended statements in every full Users Guide, but I know this works and has been working well for me on and off stage for many years since I got all the gear, figured it out beyond what the manuals say, and I am sharing this learning experience with any who read this post and wish to give it a try presuming it passes the inspection a first post requires. No reason it shouldn't be accepted since all statements and remarks are true and 100% accurate based on years of my personal use and results. If anyone wants further undocumented very amazing and useful things your dream rig of JTV/POD/DT complete or partial combination can really do when not confined to "thinking within the box". I'm not here to cause problems, but to help solve them and explain how much more this gear can do if you didn't already know. Best of luck to all and I hope I've enlightened many who might just read this long manual length post on how to get the absolute most from your Line 6 gear.
  2. L6_KnowItAll

    Dream Rig Newbie Questions

    Well after easing the posts here, I thought I'd weigh in and offer my knowledge from using every piece of L6 hear other than FX pedals from 2003 thru 2012. I will say that I first of all hope anyone using any POD unit connected to any DT amp is using a digital 3-pin cable, not a typical mic cable. The mic cable is for analog signals, and because all the Line 6 hear is digital two way communication...it needs to be a digital cable connection or eventually you will cause unwanted failure with the POD or the DT. I brought this up back when the POD pedals and DT Amos first came onto the market. It's honestly common sense any lighting tech can tell you why all lighting gear uses only digital 3-pin XLR type cables for all connections. Yes, any POD patch whether single or dual amp will only come out through channel A and override all knob settings except the Reverb & Master Volume for that channel. Channel B, if used wisely, it actually can give you a three amp patch by setting any free toggle (1 - 8) as a bypass (or off) by making certain that when in the Variax editing software, or on the unit directly, the master volume on each channel is set to produce any patch or channels direct amp sound to some more than zero. For example... In building a triple amp patch for making songs that require many changes, I start with a modeled amp ( I prefer "pre" just because it saves on CPU usage.) I've read many who say that in pre mode the cabinet and mic choices/settings don't work. Ah, but oh yes they do just as if you chose a cab and a mic as well as the distance from the mic from the cab. And if any wish to challenge my statement, I can make a video and let everyone hear that I'm correct. Now moving on...in my triple amp example, my first signal chain will have a gritty rhythm sound with a simple delay and analog chorus for just a bit of "width" to the sound. Then I make my second signal chain with a higher gain medium balls type of typical 1970s Marshall sound with a noise gate, simple digital delay with a bit more feedback and higher mix parameters. Then for the channel B amp sound, I choose Mode IV which is the highest modern gain, depending on my preference for the song I'm doing, I more often choose Class A so the drive happens sooner at lower volumes and sweet as hell for soloing and set each knob from gain thru to master volume to get the basic tone I want. Then I go into the software or in the button controller menu, I set both amps to turn off, and whatever FX AFTER the mixer will be sent to the B channel, plus any other FX you want only for channel B to ON. All on ONE button. Any FX before the mixer get shutoff with the amp shutting off. After the mixer they stay on in the signal chain. Now you can add as much as your CPU and slot usage allows for your dual amp patch, plus extra FX for only use when Channel B is on. All this happens with near zero lag time and if you switch the B channel patch before the song begins it happens even quicker. Channel B will recall the LAST SETTING OF EACH KNOB except Reverb and Master volume. And that's how you get three amps from a dual amp patch based on how Line 6 designed their gear. I've tried to let everyone know the dream rig is capable of being a triple amp rig back in 2010, but it seemed no one thought much of my findings. And for all these past years, I've been getting my gear to do more than most every other Line 6 gear user/performer. I don't have any of the newer "X" POD units and with all the CPU overload frustrations other we're having, I found this was a terrific way to get more without doing anything more than understanding the hear inside and out, and how just important using the very powerful Editing software. Now you can too if you give it a try. And just to complete my own personal preference when using my DT amps. The POD unit automatically defaults to Combo Pwr Amp as its output. I have learned that using that option can be a nightmare on stage and through a PA. The XLR outputs are always giving full modeling including cans/Mocs and as I said even is "pre" mode. So it cause great sonic and even volume differences in the PA than what you are hearing on stage. Even worse of you build a patch with headphones, then plug into the DT amp. When it switches to its default setting, you patch will not sound even close in tone to what you made with phones or through any line out amp/speaker system. I've found the best way to deal with this, is to plug in create your patch using any way you wish from phones to line amps to the DT amp is to ALWAYS use the Studio/Direct output setting. This way what you hear on stage will match your PA sound no matter which output you choose to send from the POD unit XLR or from the speaker emulator DT amp output. Consistency is the benchmark of a more stress free musical life and happy players and PA engineers as well as happy listeners since all sounds from the stage through the PA match as well as possible. This contradicts many of the recommended statements in every full Users Guide, but I know this works and has been working well for me on and off stage for many years since I got all the gear, figured it out beyond what manuals say, and I am sharing this learning experience with any who read this post and wish to give it a try. If anyone wants further undocumented very amazing and useful things your dream rig of POD/DT amp combination can really do when not confined to "thinking within the box" Line 6 manuals never mention, nor do most of the others here in the community. I'm not here to cause problems, but to help solve them and explain how much more this gear can do if you didn't already know. Best of luck to all and I hope I've enlightened many who might just read this long manual length post on how to get the absolute most from your Line 6 gear.
  3. Yes and no to be accurate. It will do some things, but the long board is limited to what the device connected to is able to do through the RJ45 connection. Same goes for the short board and short board MKII. Although the Short board MKII is actually designed to control POD Farm as a fully functional pedal board that can access the way function if a Wah type is in the signal chain. It has many other very interesting to very useful if enough time by the user is spent learning, testing, failing, trying again, rinse and repeat until you really know ALL each piece of Line 6 gear can do produced before 2012. I'm not using and certainly unfamiliar with anything new like Helix, A police, or any significant differences other than more "horsepower" in all the POD (_) X units. Best of luck.
  4. L6_KnowItAll

    Toneport UX8 Squeal

    I had this problem when first using a Toneport and my new DAW. The squeal I was hearing in my system was because I was using BOTH the computer sound card and the Toneport. The Toneport is designed to replace your sound card for all sounds coming out of your computer whether they be .mp3 files, or things your are recording. Whatever speakers you have connected to your computer should only be connected to the main (or other options if desired) outputs from the Toneport. Same with external signals going in like any audio player should be connected to one for kobo, or two for stereo and then once your configure your audio hardware to ASIO and whichever UX choice that matches your Toneport. Example, mine says the computer audio card, since I left it in the computer and my ASIO driver says Toneport UX8 for both input and output. This should end your squealing problem. Best of luck!
×