wijobe

This link is really interesting and helpful. Thanks a lot!

Thanks a lot for the answers, I corrected the global settings so that input1 is guitar, input2 I put to Variax. When I pick a clean amp model now, like the SOLDANO SOLO, the result is a very low volume of the DT25. I think I've seen other threads about this topic here in the forum, I will double check this and work on the problem. Another thing I don't quite understand is the mixer. When I put an Amp in the 'Pre' position and have nothing in paths A and B, the output volume sometimes is affected by level A control and sometimes by level B control, depending on the Amp model - how can this be?

Hello, Since I am relatively new to the POD HD world and I am having difficulties to completely understand the signal flow in the POD (HD500 and DT25), can somebody help me understand what the 'single input approach' is and how I set up the POD HD500 in order to achieve it? In general, I am facing issues w/ the POD-DT25 setup. The manuals deeply explain how to connect up to 4 DT's to the POD - but if you just want to use one amp - you're left alone in my opinion. Regards Wilfried

Thx, I will observe this and change the cable firstly. If it happens again, I'll follow your procedure. I did this two weeks ago, when I got the POD, though.

That's what I thought, but it happened.... Funny idea, but I am sure it was not a joke - actually, I did not leave my place, not even for the john ;-) I believe this is more of a digital issue. Either a software bug that causes this behavior from time to time (and that's why I am asking if anybody made a similar experience) or a hardware issue in the memory section of the POD or even kind of an EMC problem - I will replace the 'normal' XLR cable by a proposed AES/EBU version to see if this helps.

Thx again for the comprehensive answer - this helps a little ;-) Another thing that crossed my mind is, when I am using the amp in A modes (since I do like the AC15/30 sounds very much), doesn't that mean that I run it in single-ended mode and consequently am wearing out one of the tubes sooner than the other? Would it make sense to swap them from time to time (of course with necessary biasing and testing)?

No, it was not connected to a computer. Only connections used were guitar in and L6Link.

I am a relatively new POD HD500 user, just bought a used one a few weeks ago. I use it through L6Link (XLR cables) w/ my Line6 DT25 112 combo. Yesterday during testing w/ my band, something strange happened. In general I use 2 banks of presets within the user setlist#1 - 1A through 2D. Depending on the songs we played yesterday I switched between presets in the 2nd bank (2A to 2D) of this setlist which contain AC15 pre, AC30pre, BF Double pre, and BF 'Lux pre, all in combination w/ some FX's. All of a sudden I noticed that preset 2B no longer contained the AC30pre but had been overwritten by a preset called 'Middle Pups' (which sounds funny in German, BTW) w/o me having changed or saved anything! Looking at the list of presets, I saw, that 'Middle Pups' usually is on 2B of the setlist L6LINK<->DT. So, it obviously was copied from 2B of one setlist to 2B of another setlist w/o any user action. Any idea how something like this can happen? Has anyone made a similar experience? Regards from Germany Wilfried

Thx, again. But more answers -> more questions ;-) Tubes have to be matched pairs - that's clear. I am curious though, what these additional tests and checks would be beside biasing - can you shine a little more light on this? Looking at the amp, I do see the testing points for bias and also I see the 'bias adjustment hole', assuming there's a potentiometer behind it. I can't see anything more. So, does that mean you would perform some kind of digital / software checks and adjustments, probably through midi ports (since there is no other digital interface available)? Please understand that taking the amp to a service center is not trivial for your customers. There is only one center in Germany. Driving 400km to drop the amp there, 400km back home again, and two weeks later the same to get the amp back means travelling 1600km's. Shipment is also difficult and expensive due to the necessary packaging and the weight of the instrument. And this is the same in the US, by the way, as several posts in this forum pointed out already. Having to do this once a year to get the tubes changed is not customer-friendly at all, and, honestly, if I had known this before, would have prevented me from buying this amp. Why does line6 not open up this book of secrets to let more technical experts get the ability to do this job like other companies do? If pure safety issues are line6's concerns - it is clear and understood that only experts w/ electrical background may do the job - but this is true for many repair and service jobs and a safety hint in the manual is enough to put you on the safe side. Don't get me wrong - I like the amp, it sounds really awesome, I do like line6, I have several instruments in the meantime. But if it turns out that after-purchasing-costs become infinite that's a good reason to look for alternatives... Regards Wilfried

Thank you very much for this answer. Understood, at least partially. Not quite sure whether I do understand the part of the 'nice talk between the analog and the digital section' and the 'bad things that can happen'. As an electrical engineer who spent his whole career in R&D departments developing electronic instruments in EU as well as in the US, I would say it would not speak for a robust design if the 'curves of the tubes' would influence the digital part so that 'bad things can happen'... Nevertheless, there's too little robust information/data available - and I guess that's the plan and I understand this in terms of intellectual property. I was just hoping to get a little more background information... I folllowed one of the links in earlier posts of this thread an ordered the EH version of the EL84 in Germany. https://www.banzaimusic.com/EL84-EH-Platinum-Matched.html Price for a matched pair is just 25,22 Euros - which looks very reasonable to me if I compare it to other flavors of the EL84 mentioned above and been given the information that this is a premium version of the SOVTEK tube. So, I do hope they will do it! Thanks again and best wishes from Germany.

Can somebody please help me understand what is special about the Electro Harmonix version of the EL84? This version is hard to get in Germany, which does not make it easy to have the tubes replaced in the amp. As an electrical engineer I always try to understand the necessity for certain measures. In this case, which are the unique data points of these tubes that must be given? And I'm not talking about 'cleaner sound', 'more bass', 'less noise' or something like this. I am talking about fact based data, such as maximum ratings, plate voltage, bias, current, temperature, etc.. There are 'flavors' of the EL84 which are being sold in Germany, like the EL84M (military version by SOVTEK) or the EL84-STR, sold by Thomann (https://www.thomann.de/de/tad_rt872_roehre_el84_str_paar.htm). Would these be sufficient? Does anybody have experience with these? Looking forward to an answer! Wilfried

Yes, i saw this , thanks!...do you happen to know whether that would be true only for the shortboard mkII or also for the older version w/o USB? I was wondering what the USB would help me with if everything is handled by the amp anyhow. For your understanding: I have a good offer for an older shortboard....

Thanks for the answer. Is there any experience what a Line6 shortboard would be able to do in combination w/ a Spider V?

Can I have the FBV buttons A, B, C, D do anything else but switch between registers within one bank? Can I have e.g. one button switch between banks? I have FBV control software running but whatever I change there does not seem to have any effect on the board... Any ideas? Wilfried