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z3albw1rr

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About z3albw1rr

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  1. So, just got mine today. Was shocked and completely let down that you can't access some models in some combinations. It's like there are 50 Delay Models, but if you use 3 other pedals or this particular Mod pedal, you can only access 10 of those Delays. That's kind of, well, disingenuous. Does anyone have any kind of information on what will affect what? Like if I want the Electric Mistress, is there anything predictable that will make it not available? I suppose - suppose - there's enough stuff in there that I can compromise and pick the FX I don't actually want to make it work, but...
  2. So my experience was the opposite of yours: I owned the MM4 and DM4 when the XT Live came out. When I got my XT Live I was VERY disappointed because the "same" models sounded absolutely nothing like what they did in the "4" pedals. There was no amount of turning amp/cab sim off and "tone correction" to fix it. When the M series came out, I bought an M5 to try it and was ecstatic that it sounded just like the 4 series pedals. I just got my Pod Go today and I'm happy that those same models sound the same, and when you turn the amp and cab sim off, it actually sounds like they're bypassed. The XT Live just unfortunately didn't sound right. But, it sounded like it sounds - I gigged with mine a year or two and it was a nice all-in-one solution for me at the time. So I can understand how you can get used to the sounds, especially if you made it work for you. However, it's kind of an outlier IMLE. It just didn't sound "right" - it doesn't sound like the rest of the stuff. Now, for you it does sound "right", but none of the other stuff is going to sound like it unfortunately. You're just going to have to figure out how to get things to sound more similar through trial and error.
  3. Thanks a lot cristt!
  4. Cristt - I remember the L6 manuals saying things were "bonehead simple to use" but I find L6 is notorious for doing boneheaded things when designing products too! That jack should say "out to power amp in" or something of that nature! I think the primary point is that the Amp Out jack can be set to Mono and use a standard TS instrument cable rather than using the Main Outs, which you could just use the L/Mono one, but, you know, there you go. So as far as I understand you can either bypass the Amp and IR block and just send out the main outs or at that point use the Amp Out in either mode - mirror the mains or pre Cab because it's the same thing. Otherwise you'd have to bypass the Pre Amp, then take the Amp Out pre Cab/IR, then your main outs will have no Pre Amp/Amp, but will have Cab/IR, and your Amp Out will have neither. Which accomplishes the same as the above except that if you were recording or sending the main outs to FOH you'd have Cab/IR on them. The other option a L6 guy told me about was to use the FX loop and place it before the Amp and Cab blocks and use it to send to the front of your amp. This way, a fully emulated signal goes out your mains (and assuming to recording) with BOTH Amp and Cab sims on it, while the FX send "breaks off the signal" and sends it to your amp - this is kind of like using a Two Amp rig where your traditional Pedal board with all your FX on it has an A/B box and one side goes to the front of your own amp, and the other side goes to whatever amp/cab combo you pick in the PG, which could then go on to FOH for example (and could just be a similar amp to what you use). The only drawback there is the FX loop has to be before that PreAmp block. But if you're not using it for anything else and want this option, this seems to be your best bet (especially if you want to have both the non amp/cab sim signal and amp/cam sim signal to use simultaneously - one real, one virtual!
  5. Sorry if these have been asked before, but they're pretty specific so it's hard to find answers and in many cases the Manual doesn't specify: 1. Can you have the same effect in two or more blocks? I realize of course Snapshots is a better way to do this but let's just say for some really weird reason I want 4 delays, all set to different delay times - all the same delay, like a Deluxe Memory Man model, so I can turn then on and off to create different polyrhthmic delays? 2. If so, great, if not, please tell me I can at least have say, a DMM in one slot, an EP in another slot - all Delay Models, but 4 different types if necessary...??? 3. In 6 button Stomp mode, what can the extra 2 buttons be assigned to do? Let's say I have Drive, Chorus, Delay, and Verb set up on the 4 blocks and FS1-4. Can FS ^ or v then be used to control any aspect of those 4 blocks - like say, toggling a Chorus from Chorus to Vibrato on a model that has it? Can FS ^ or v be used to turn the Wah on and off if you wanted? Or what about the EQ at the end - bypass and engage it using one of those FS so it's like a lead boost or fat switch? 4. If you use the EXP2 port for FS7/8, what would they do? Can you assign them freely like you can FS ^ and v (assuming you can) or are they limited to only specific parameters? 5. I know you can move Blocks, but can you move any block anywhere between the in and out? Like if I wanted to put the EQ first in line to act as a lead boost or something goofy, could I? 6. Also the manual is not really clear on this - could I put an EQ in one of the 4 free Blocks that's different from the final EQ? It almost sounds like when they say "it makes no difference" it means they'll be the same EQ. 7. There appear to be FX from the "4" series and "M" series, like the "Classic OD" - even though there's a newer Rat model from the Helix line. Are these older effects available? 8. With respect to a Rat model specific - be it the older or newer one: does either have Bass and Treble controls? In the M13 (and IIRC the DM4) that model had Level, Gain, and Filter, as well as Treble and Bass. I just want to make sure at least 1 of them still has Treble and Bass controls. 9. Are there any "Dry Through" effects? Again, many of the older FX like the "Tape Delay" had a Dry Through version. This doesn't appear to have them but maybe it's incorporated in the model's parameters themselves? 10. The Pedals are really confusing me - Can I have the on-board pedal control Wah, and the external EXP2 control Volume? Can either of them be used to control other parameters? For example, I might want the on-board pedal to do nothing when disengaged, but when stepping on the toe switch have Wah come on. Then the external pedal I'd use to do something like tweak Gain and Level on a drive model? FWIW, here's why I'm considering the Pod Go: 1. Great price. 2. Ability to record direct an Amp/Cab simulated signal over USB (as well as a dry signal if I desire) (does the VST version come with it too?) 3. Ability to edit with software. 4. Helix effects I haven't had access to before. 5. Ability to play through headphones. 6. Ability to send an Amp/Cab simulated signal to FOH. Now, here's my situation live: I play gigs which sometimes have, shall we say, questionable monitoring. There are some gigs I could play with the PG only, with either a floor wedge or in-ears for me. But there are often gigs where I need to use my own amp on-stage for monitoring, and sometimes that cab has to be mic'd up. I've figured out I can move the FX Loop block down right before the Cab and Amp. What this means is I can run my guitar in to the PG, through the Wah/Volume/FX1-4 (and maybe even EQ) then have the loop send out to my on-stage amp, a Twin Reverb. Then I'll have the signal in the PG go on to the Amp/Cab block, which I'll just set up for a Twin Reverb. That way, hopefully, FOH is getting a tone very similar to what I hear on-stage, or if they had mic'd it with a 57 or E906 (the two typical choices). Just so you know, I'm not "driving" the amp at all - the camp is crystal clean and all FX are coming from the PG even the drives. So my typical setup might be: Input -> Wah -> Rat -> Chorus or Flange -> Delay -> Verb -> EQ for lead boost, or volume pedal here for rhythm/lead volume as min/max -> SPLIT feed A goes out the FX Loop to my amp on-stage feed B goes on through the Amp/Cab sim and out the main outs to FOH. Understand I want to be able to use BOTH the amp/cab sim on the main outputs and a NON-amp/cab sim feed on my on-stage amp - so I know you have to use the FX loop to do this because the Amp out is stupidly after the Pre-Amp/Amp block (and I don't have an FX return/Power Amp in on my amp). I know of course that this means if I call up a Peavey 5150 on my amp/cab feed the on-stage amp is not going to get that, but I wouldn't do that anyway - I'm basically going to use the TR on stage and the TR model (or whatever is closest to it) FOH so I get a reasonably similar sound on both feeds. This means I'm largely using the PG as an "effects only" box in this configuration but I DO NOT want an HX Stomp or something because it doesn't have the Amp/Cab sim for FOH and it costs more. This way i get the best of all possible worlds - I can use it as FX only this way if monitoring is atrocious and I just have to use my amp on stage, but if FOH is ok I can still use my on stage amp for my own monitor (and so others without in-ears or good monitoring can get that ambient sound) as well as send it to FOH, or in the rare cases I get great monitoring, I can just send them the FOH signal from the mains. I just won't plug in the on-stage amp if things are looking good and then I'm using the internal amp modelling (which the other effects only devices don't have). Plus I can use it as a direct recording device when not gigging (also something the other boxes don't necessarily offer). And I can STILL opt to use "all the features" if I have great monitoring (I'm in one band where this is the case, though Covid has killed all our gigs) and take advantage of all the amp/cab models I would LOVE to know if anyone has used it like this - that is, used the FX loop direct to an amp rather than the Amp Out? I mean who knows, the Amp out might actually make the preamps just sound like another drive pedal in line in some cases, so I may still can get a similar tone out of my amp as what FOH gets but it's nice to have that option of using teh FX send to send to my amp - as long as the signal is uncolored...
  6. Don't know if you ever got help with this but it could be the contrast is just set too high. Turn it on. Press Output Mode once. Turn left page select knob one click clockwise. Turn right parameter select knob counterclockwise until the contrast comes down low enough to see the screen! Hope this helps.
  7. I have a Pod XT I bought years ago when they came out. I used it with an editor and remember having the driver, Monkey, and some edit program (maybe Line 6 Edit) on an old PC. However, over the years I stopped using the PC and started using a Mac, which I never used the Pod with. I actually used it live for a while, then as a MIDI floor controller for a synth (I rant the synth out into it and added FX, but wrote over all the factory patches!). Finally I let my son use it for a while. I've re-inherited it and am now trying to incorporate it into my project studio. I've used Monkey to download the latest of almost everything, which still so far seems to work with my ancient Mac 10.6.8 (thankfully). So I was able to update the flash memory and get all of the new amp/fx models they've added in (yay) which should be fun to play with (and thus restore factory presets) I've got the License Manager and Authorized the unit and computer (which had never been done before apparently). I've got Monkey obviously. I've got Line 6 Edit. I've got Gearbox. Do I need Pod Farm (or PF2) - looks like a huge application based on the download time - I've got Reaper, Logic Express, Cubase Le, Garageband and Finale. Is it basically VST versions of L6 stuff? Could be fun. Do I need it, or want it? Do I need both Gearbox and Line 6 Edit, or did Gearbox surpass Edit? L6 Edit gives me some kind of weird error when trying to go online. Gbx gave a connection error too (asked to turn of virus protection). But maybe something else is going on with it??? Conflict with L6 Edit?
  8. With the bigger models, you could set up the volume pedal model in one slot, and then feed the drives into it. That way the volume pedal can act like a master volume because it basically REDUCES volume only. So put on a drive at the default volume, then adjust the volume pedal model to the level you want. Then as you scroll through the other drive models, even though their defaults are really loud, you're choking them off with the volume pedal model and it will keep them in line. This is not an option with the M5 though so the only answer is to turn your amp way down as you run through the models. One of the reasons the volumes go so high is Line 6 is of the belief that most people want to use any drive models to hit an amp harder causing the amp itself to produce overdrive, like you might with a traditional overdrive pedal like a Tube Screamer. So they give you more than enough volume on tap to do this. In fact, it's really too much - some of the models if you want to set the gain on it high, don't go quiet enough (or you're so low on the knob you can't get it accurate even with the "fine tuning"). I wish it was more in balance - there are plenty of clean boost options there (of course, that wouldn't help an M5 user so there's another reason it makes sense to have that gain on tap in the model).
  9. Don't know if you're still checking the forum or have already gotten an answer but just in case and for the benefit of other readers: The M5 only sends out two types of messages: Program Change (PC) and Continuous Controller (CC) messages. Your amp can actually respond to these messages, but: The M5 only sends out PC messages 0-23. Your Armegeddon amp will store 128 presets. But since the M5 only sends the first 24 numbers, you'd only be able to select 24 patches (which could still be useful if you don't use that many!). As far as CC messages are concerned, the M5 only sends one that your Amp recognizes - CC 64, which is sent by the Tap/Tempo button. This button only sends values 64-127. Your Amp uses CC 64 for Mute - so if you could send a CC 64 message to the amp you could Mute and un-Mute it - IF you had the right values. Your amp uses 0-63 to mute, and 64-127 to un-mute or vice versa. This means all the Tap button on the M5 could do would be to either Mute the amp, or bring it out of Mute, but nothing else. So IOW, teh M5 would be useful for selecting the first 24 preset patches you store, and that's it. You would engage the DIP switch that lets your Armageddon respond to PC messages (I think it was DIP 6) and plug a MIDI cable OUT of your M5 and IN to the Armageddon. There is no OUT on the Armageddon, so you can't have it to tell the M5 to change patches. So you best bet would be to make presets on the Amp. You can store both which channel you want it to be on and whether the loop is on or not. You could set up Patch 1 on the amp to be Channel 1 with the Loop On, and program your M5 for Chorus on its Patch 1, and then Patch 2 on the amp to be Channel 2 with your drive on and Loop on, and program your M5 for Delay. Assuming you have the M5 in the loop, stepping on the Patch 1 button will change your amp to Clean and chorus, and Patch 2 will make it dirty with delay. HTH
  10. Your options are to lower the mix some more, or live with it. To be honest, in a live setting, I always find that the boost in volume offsets a little bit of the "out of phase-i-ness" the chorus creates, effectively making the overall volume about the same. For this reason, I've set up some beautiful subtle choruses, but when I get to the gig, I find I have to up the mix quite a bit to make it "noticeable" in a band setting.
  11. Used to be, when I turned on the M13, I'd get a startup screen with the logo, etc. Now it just starts and returns to whatever setting I last had. Not that I mind - actually I wouldn't have minded having a way to skip it. But could this be an indicator of an impending problem? Or is it just that after X number of power cycles it stops showing the startup screen?
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