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rmp5s1

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Posts posted by rmp5s1

  1. No idea what's going on...

     

    Just got a Torpedo Live.  I hooked everything up the way it's supposed to be...guitar > amp > Torpedo Live, then Torpedo Live 1/4" line out > UX2 1/4" line in.  Also have the Torpedo Live > PC via USB for controlling the Torpedo Live.  

     

    Well...come to find out, whenever I run a 1/4" cable from the line out of the Torpedo Live (it's the only analog out on the thing) and plug it into ANY 1/4" input on the UX2, I lose all audio.  The entire computer.  Silence.  Unplug the cable from the Torpedo Live, audio works again.  

     

    Now, when I say no audio, I don't mean 'no audio from the Torpedo'...I mean no audio, period.  Youtube, my DAW, nothing.  I can see proper audio on the little level meters on the UX2 which are set in the Line 6 software to show output, and I can see proper audio levels all over the place in Windows.  Torpedo Live also appears to have proper input...doesn't appear to be going to the UX2 though...Torpedo Live software shows proper input and output, but nothing appears to be registering on the UX2.  

     

    I'm lost...anyone have any idea why this would happen?

  2. The way I've been going amp-only with the 4 cable method is selecting "fx-loop" in the pedal instead of an amp/cab sim.  This just tells the pedal where to put the front of amp/fx-loop line.  That doesn't work over L6Link?

     

    Interesting with the "amp a only" thing.  That's kind of handy in a way, though.  If that's how it works, that kind of turns the thing into two 2-channel amps.  That'll be fun to play with, too!

     

    Thanks.

     

    With the L6 link it's going to use the POD amp models for pre amps, no matter what. That is what the L6link is for. If you like the DT tones just set them to the same "Pre" on the Pod and it *should* (some claim it don't but to me it sounds the same) match, if it doesn't sound the same to your ears then the 4cm is all you got left.  The knobs on both units are linked over l6link, except the reverb and master volume knobs on the DT.  Amp B is not used over L6 link as well, Although it's still there, so you could add a separate foot switch and still use it, but without the POD effects etc...., they will only come over Amp A. 

  3. Got ya.  Sweet.  Just wanted to make sure.  I actually prefer to use the tones from the amp as the amp itself sounds quite good.  I will tinker with it though and try some of the pre-models though and see how they work out.  Between it and the pedal, the sky is the limit.

     

    Thanks!

     

    Yep, The L6 link uses the Pre amp from the PODHD500x and the Power amp on the DT. So before after the preamp determines the effects position just like you would expect looking at the screen. 

    Tip: You might want to try the "Pre" amps as they don't have the moddelled power amps. They are desigined to work with the DT although there are not rules on this just want works for you.

  4. So, just got the cable for the L6 Link thing (aka another mic cable...lol) and I'm wondering, can I get rid of all the "4 cable method" cabling now and still do the "in front of the amp/through the loop" stuff like before?

     

    Thanks.

  5. Make the looper pre...maybe THAT'S what's wrong with mine.  I gotta play with that setting a bit.  Didn't even know it was an option but I couldn't get it to do what I wanted it to do...

     

    Anyway...got a couple tones from Giorgos02 and I'm quite pleased!!  Highly recommended!

  6. Ahhh right, that should fix your issues, the L6 link is brilliant!

     

    I'm looking forward to trying it out.  It's one of the main reasons I bought the amp and pedal was to utilize the flexibility it affords in the studio.  Will post results!

     

    Thanks man.

  7.  

    Don't need VSTs or even a DAW to do that with Helix. Record a Loop (up to 2 mins) in Helix with the Looper in pre-position, i.e. as the first block in the signal chain. The looper records the dry incoming signal and on playback routes that signal from its position at the beginning of the chain. Tweak to your heart's content during playback and you can hear the changes applied to the signal in real time.

     

    Oh I know, man...I do...the routing options in that thing are unREAL!!  

     

    Sorry, I didn't see the replies in this post. I only saw the post now that you quoted a message of mine. Yeah he uses an Axe-FX. And damn these trebly leads are the toughest to make..

     

    I have faith, my friend.  Give it a shot.  I can't quite put my finger on what makes that tone so I just call it "the Axe-FX tone".  lol

  8. Guys pay me to build their favorite tones. How much would you charge for a tone that someone requested you to build for him and you spent 4 hours minimum?

     

    If it was a guaranteed-match type of thing, maybe ten bucks for the 4 in this case.  I know it takes time and all, but that's pretty steep...especially considering there's no real way to know what they'll sound like with someone's specific gear.

  9.  

    I mostly use the Fireball and the Treadplate amp sims for mid/high gain modern stuff. (The Big Bottom is also a very good amp for specific tones.)

     

    For cabs I mostly use the XXL and the Uber, but you should note that the XXL cab needs much of its bass out in order to be usable.

     

    And then the typical FX's you find in a modern chain: noise gate, compressor, screamer and after the amp a lot of EQ pedals in order to shape my tone even more, because the cab/mic sims in the Pod HD are really meh.

     

    You can find all of my recordings in the links bellow:

     

     

    Nice, man.  The Polyphia ones on your site sound pretty good, too.  I'd like to try them out but...dude...ten bucks a pop?  lol

  10. It may not be for everyone, but I know I'll never go back to a traditional amp.  After almost 50 years of trying to reproduce a studio sound in a live environment I finally achieved it with this rig.  Even in the old days of analog recording there was always a difference between what we would hear in the studio and what we could produce on stage.  I'm not really talking about nuances of the sound, but legitimate differences brought on by various things like mic and mic placement, and other stuff in the signal chain during mixing and EQ/limiters at the mastering stage.  I've come closer and closer using modeling and modeling amps as the technology progressed, but the limitations always came back to the inadequacies of guitar amp speaker cabinets in comparison to professional studio monitors.

     

    The latest advancements in powered speakers using DSP, more advanced cabinet construction and high quality compression drivers really changed the game in my opinion.  That opened the opportunity to ensure that the sound I designed for a specific song is heard on stage and through the PA exactly as I designed it..  I've never played with the AXEfx or Helix units, and they may have some improvements in the modeling.  But those are what I refer to as nuances.  All the major pieces necessary to get the precision and detail in the sound that I want is available for much less.  So I'm a very happy guy now.  It's just not worth another $2,000 to $4,000 to please an additional 1% of the audience the might know the difference.

     

    I've been using VST's since their inception, and they were pretty handy at first.  But ultimately they're software, not hardware.  So they inherently will either be less powerful or have more latency.  That's just simple physics and the nature of hardware that allows the handing over of direct execution of it's logic within the device versus software that depends on an external computer bus and register structure to execute it's algotithms.

     

    Awesome, man.  That's cool.  Everything really has come SO FAR in the emulation, modeling and sound reproduction world over the past few years.  If I played live, I would DEFINITELY look into going the FRFR route.  Again...simplicity.  It's worth its weight in gold on the road.  You using the L2T?  That thing is a lot more expensive than I thought.

     

    I've wanted an Axe-FX for a loooooooong time but, like you said, the cost...it's hard to justify.  There are options out there that cost much less that sound just as good if not better.  I wouldn't mind getting one someday for the epic ambient/spacy sort of presets but I'm hoping to eventually make a couple of those on the 500x at some point too.  Gotta get the basics setup first though.

     

    The main issue I had with VSTs dawned on me when I bought Positive Grid's BIAS software.  Sure, it sounded killer...when it worked and apparently I'm the oddball out when it comes to this, but it glitched out constantly for me.  Positive Grid ended up refunding me my purchase price.  Their customer service was quite good.  But, I digress...as soon as I bought it (200 bucks) I was like, "well...that sucks."...it dawned on me that that money was gone.  All us music guys are gear hounds to one degree or another and being able to buy and sell is pretty important.  Well...can't do that with software.  If I buy a pedal for $200 new, I can expect to be able to sell it for 100-150 bucks when it's time to upgrade or whatever and depreciation is even less of a concern when buying used (which is why pretty much everything I buy is used)...but, once you buy a piece of software, that's it.  I couldn't sell BIAS to anyone else.  It was tied to my credentials.  This is the BIGGEST downside to software plugins in my eyes.  I never had a problem with latency or anything performance wise as I custom built my machine for recording.  Sure, there is technically more latency and all but I never noticed anything.  Honestly, I got used to double tracking guitars in a way that is very difficult to do now that I don't use the VST stuff anymore...relearning how to do stuff is a bit of a pain but, hey...always learning!!

  11. I have been trying to emulate, for over a year, these Axe FX tones from bands like Periphery, Intervals, Polyphia, Plini etc... And after hours of tweaking, I achieved getting close to their tones.

     

    So the best advice I could give you is to stop searching in the custom tone, (because it can get very frustrating and time wasting) and start building your own tones. 

     

    Start by finding a spot in a song that has the tone you are after being played with the least interference with other instruments, listen to it many times and try step by step to get close to it.

     

    I can assure you that the Pod HD CAN emulate Axe FX tones. It just takes crazy amounts of time in order to do so. At least for me.

     

    Happy tweaking! :)

     

    Another fan of "The Axe-FX Tone"!  Nice!  :-P

     

    I know the hardware has it in it.  I know it.  It may not be an Axe-FX, but it's got a ton of great sounds in it and it sounds good the way I have it...I'm just looking for the few tones I fall in love with.  I knew it had it in it.  Good to see I wasn't wrong!  lol

     

    Yea, I've ended up mostly just using the CustomTone stuff as tools, kinda.  Some do sound good but it's always a gamble, for sure.

     

    What amps and stuff did you end up settling on?  Have any recordings?

  12. Yeah, pretty much what I thought.  I think the key sound you're looking for is a harmonizer which on the POD is under the category of Pitch pedals and is called Smart Harmony which is based on the Eventide H3000 diatonic harmonizer.  Of course you have two different guitar lines playing in the case of the video you posted, but they're each using a harmonizer with the tonic and the key set to whatever key they're playing in and the shift set +3 and it sounds like scale is probably set to minor, though I'd have to play a bit with it to make sure.

     

    I use this a lot when doing classic Queen style solos.  Even though it's a diatonic harmonizer you can also achieve 3-part harmonies by adding an additional smart harmony into the signal chain with the shift set to +5.  I normally place mine post amp and slightly lower than 50% on the mix  function of the pedal to get them to blend better, but that's more a matter of personal taste.

     

     

    Interesting.  I've toyed with that pitch thing before a bit while trying to pull off a shimmer/ambient patch (which came out sortakinda right).  I'll mess with it some more.

     

     

     

    Since I use an FRFR setup I can't help you much with dialing in the amp tone.  It sound very similar in feel to what Brian May used with Queen (that's technically Dr. Brian May, Phd in Astrophysics).  He tended to use Vox AC30's for most of his stuff, so that's where I'd start with my rig.  Since you're using your DT-50 as the amp and basic guitar tone you'd have to figure that one out for yourself.

     

    Thought about going the FRFR route for simplicity's sake...how do you like it compared to a "real amp"?

     

     

     

    No offense, but I think most of the complications you're facing you kind of brought on yourself.  I went the path of least resistance so for me it's pretty much as easy if not easier then monkeying around with VST's in a DAW.  I just dial in the amp and effects to construct my signal chain, tweak them to taste and they go out one XLR cable to the PA and one to my guitar stage monitor which is a Yamaha DXR12.  It's all very straightforward and no messy cord configurations or amp manipulations.  The more complications you add to your setup, the more complications you have in finding your tones.

     

    Oh for sure.  I do keep stuff pretty barren but it definitely comes down to inexperience/ignorance when it comes to the hardware.  No doubt.  Like I said...I've got lots to learn.  lol

     

    (But...dude...NOTHING is easier than VSTs.  lol  I really miss them in a way but, after BIAS decided to freak out on me, I decided to get away from software and get back to hardware for a variety of reasons.  Here's the little video I tossed together to send to Positive Grid to show what it's doing:

     

     

    Man...I really miss recording dry and tweaking away sometimes, though.  lol)

  13. If you watch the first four of the videos in my series on the HD500X, all of the guitars were recorded directly into the DAW.

     

    Part 2 also gives tips on how to get the guitars to fit into the mix.

     

    Cheers,

     

    Peter.

     

     

    Killer vids, my friend!  Thank you!!

  14. I think if you want to get some input on this you'll need to be more specific about what you're trying to accomplish.  "Axe-FX-ish, Intervals, Polyphia" doesn't really convey what exactly you're trying to do.  I assume that maybe you might be referring to polyphonic tones, but that's just a guess.  We would need either a general description or perhaps a link to a sample.

     

    lol...yea, sorry.  Intervals and Polyphia are bands.  They both rely heavily on what I think of as "The Axe-FX Tone".  Very controlled, not super gainy but a bit of bite, etc.  Eg:

     

    Intervals - https://youtu.be/t8RFcWCWkcI?list=PLuj-WzKNCr7-QfPCi5VEkvFErx2oCwxof

    (This is actually all only one guy, Aaron Marshall...not really a band.  If this isn't inspiring, I don't know what is.  lol)

     

    Polyphia - 

    (This is a group of kids out of Dallas...so awesome.)

     

    Not that I'm anywhere near as good as these guys, but I LOVE their tones.  I know the HD500x != Axe-FX, nor do I want to completely copy-cat anyone, but I'd like to get close.  All the patches I make come out WAY too loud and...harsh, I guess you could say.  

     

     

     

    As far as the DT50 integration, again...integrate in what way?  You want to employ the various pre-amp and amp tone configurations of the DT50 as far as both the pre-amp and amp configuration with the effects in the POD?  I'm sure it's clear in your mind what you want to do.  It's just not clear from your description.

     

    Yes.  I am actually quite pleased with the tone of the amp so I'd like to use its tone, then the 500x for stomps and maybe USB-recording cleans (I quite like some of the cleans I can get out of the thing over USB) but I'm not sure if I'm putting the FX-loop block in the wrong place (if that's even necessary all the time) or what but I can't quite get it to sound the way I want through the amp...not to mention, half the time I get blasted by the amp as it switches to a patch that isn't volume matched...as pretty much none of them are.  lol

     

    If all else fails, it'll just take more tinkering.  I haven't put a *ton* of time into it yet and I still haven't gotten a cable to do the correct link between the pedal and amp (I'm just 4 cabling it for now) but I have messed with it some and it's proving to be more complicated that expected...especially when coming from VSTs that are SO EASY to tweak, setup, reamp, etc.  

     

    All that being said, it's fun to tinker with and does sound good.  I've got lots to learn, though!!

  15. That's why it's so important to stress to new users that they take the time to learn the equipment and to build patches themselves.  

     

    Exactly!!  Have any good resources for this?  The 500x sounds good but I'm having a helluva time getting the tones I'm looking for out of this thing.  Would love to be able to get Axe-FX-ish, Intervals, Polyphia types of tones but am having a real time with it, ESPECIALLY when trying to integrate the DT50 2x12.  Any tips, anyone?

  16. I was wondering if anyone knew of a convenient way of converting/setting up patches that use emulated amps/cabs to use my DT50 instead?  Do I just delete the amp/cab block?  

     

    Ideally, I'd like to have one bank of tones for DI recording and have that same bank of patches set up to use the amp (getting the tones as close as possible...of course they won't be exactly the same but that's ok) and going in and just manually doing it like I have been trying to do it so far has resulted in me BLASTING myself with ludicrous volume more than once (DAMN the DT50 2x12 is loud!!!) while changing between patches.

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