kingroyal

@ Hurghanico The effects loop and studio EQ ideas are two that I will try out and see which one works out best for me. It's actually not a big deal to add it to each patch because I'm literally creating my own patches anyway. You've outlined the pathway here bringing the solution into focus. I thank you for that. Cheers!

Hello; I'm wondering how to do this... I have the POD HD Pro X along with the Shortboard MK11. I'm looking to add a boost option on a footswitch and adding a bump of 6db for lead playing. To me, it's kind of surprising that it's not built in. So, I'm looking at assigning some sort of eq boost setting to a footswitch on the shortboard FS 5-8. From what I've read, there is also an option to flip from two amps on FS 5-8 and get my lead tones that way. What I'm ideally looking for is to assign a straight boost to a footswitch and have it global so that I don't have to repeat that process for all of my presets. On another note, it would seem like a hassle to physically insert a boost pedal into the FX loop and have to run two cables from the Pro X to my feet. Has anyone accomplished this and wouldn't mind sharing his ideas on how to set this up?

Anyone know how to make MIDI program changes happen from the shortboard to the HD PRO X? I believe that I have it set-up correct in Utility (MIDI channel #1, HD Pro) and MIDI channel #2 for my outboard unit from the desired footswitch on the shortboard. (Everything there is on the correct channel). Back to the HD PRO X and shortboard, footswitches 5-8 are set up for the program changes (where the individual switches are assigned to MIDI #2 and the desired preset). I don't believe that I need to save every preset (but I did that anyway) and finally, when I try the PC, all I get is a change increments of pc 1 to pc 2 to pc 3 etc. from the outboard unit. They were set set up individually for various pc changes. So what gives? Tried to fix this multiple times. The manual doesn't get into troubleshooting this issue. Does anyone want to take a stab at this?...

Hello community; A bit of oddity occurred when the signal at the output jack cut out entirely on its own. I found that out after tracing backward from the input jack and ultimately to the output jack. Checked the cable there for anything broken. Nothing discovered and reinserted. Signal was recovered. Since then things are good but leaves me wondering about the contact points within the jack itself. Without opening up the unit, I'm guessing the jack is probably a module which is begging to show its usage. Question being, has anyone else experienced this as an issue? Does Line 6 offer replacement parts should it eventually become unreliable? Anyone can chime in so that I'll know what my options are for this piece of essential gear in my rig. Thanks in advance.

Wow guys, there's a wealth of information here! Much more to think about than I imagined. So I think I fully understand what Cruisinon2 is saying. It really didn't occur to me to create a preset (or patch) with my home gear and then copy that preset with adjustments intended for a live application. Probably get as close as I can at a full band practice. Then.. make mental or written notes during the night. First gig in, and hopefully improve from there. I get it about the IEM's... It's really about a personalized band mix in everyone's ears. In my band there's only a couple players who have them tailored to hear themselves only. Basically relying on ambient stage volume for timing and instruments. Not the ideal situation... the whole band should commit to it, I guess. Thanks, everyone for the starting points. and I'll try to read similar old posts for more ideas.

Yeah, about the first quote, I misrepresented that. I actually meant switching from preset to preset within a live context. In the early days of amp switching, it didn't take long to figure out how loud your clean and overdrive levels should be, then you just adjusted the master as the band got louder. But on a modeler (new to me) there's ample opportunities to switch between four different cleans, if you want that. Try dialing that in as your working from one to the next... it takes a while just to get one close to what you heard 15 minutes ago on a different preset. Dialing the level in for a specific purpose is a little vague to me as I prefer having four different flavors dialed in a switch between then. Like you would with pedals. the second quote... It's obvious that when my fellow guitarist switches to a random preset that sounded great at home practicing now lacks something live. (Just an example here) It might be that the EQ needs a focused boost to punch through on that particular preset. It's all doable, it just takes the experience and noting what needs fixing. If you're playing with 3 presets then it can get done right there onstage. I do believe that in ears is a little easier because all you need to worry about is your own sound. You can practically dial that in at home and gig that way letting the FOH figure you out in the mix. Fourth quote... I wasn't asking for a shortcut, just asking how you guys dial it in. I'm setting this up at home and don't need to be tweaking every single preset at practice or better yet at an actual gig. I know that it's not rocket science and I'll get there one way or another. Like learning to play a guitar, you want it bad enough, you'll learn it. Right?

I hear what you're saying... What leveling everything out once sounds like, to me means, setting the mixer at a starting point of (0 db unity gain) and adjusting all amp presets to sound equal in relation to each other. In the Line 6 presets there are dramatically different preset levels that need fixing before actually using. But I'm sure that's no revelation to anybody. The thing is though, in my experience, is that these preset levels within the band context is tricky. What might sound decent at home or practice might become underwhelming or overwhelming live. I see that with my fellow guitarist who turns to his amp adjusting amp loudness for compensation. That's what I'd like to avoid. I imagine with in ear monitoring this would be a whole lot easier but I'm not there yet. For now, I guess doing it by ear is the only answer, and I'll get the 15'ish patches dialed in for a night's gigs. It's no biggie... I can do it. I was just wondering how you all approached it.

Afternoon; How do you guys set your final preset levels so they match each or all presets closely? This would be in the writing and saving portion. Is a SPL level meter useful for this or do you guys just typically set them by ear? Inquiring, so that front of house mixer is ultimately getting even levels each time you change presets. Before you ask, :) I'm setting up an HD Pro X rack with a Mesa rack amp with 2 (2X12's) on each side. I'm pretty good with my ear, but going back and forth on each of my many presets gets a little old. suggestions?

Yes... I can see the road ahead. I've had some GCP experience but not a lot of continuous controller setups. I'll try setting up that feature with my own presets and see how well that goes. Thanks for laying out the map. I can try to not be too ambitious and just get the simple stuff off and running. You might hear from me as to how to incorporate some pedals into the mix a little later in the process. For now, thanks for explaining things. :)

@stormstudios Thank you for staying with me on this! It makes a lot more sense now that you've unlocked the mystery of the POD presets in my GCP. So to sum up... the presets on my GCP for the POD are really of no use to me, because I just won't find them on my HD Pro X? If that's correct then it won't concern me that I'm throwing out presets to rewrite new presets. The video is very helpful as well as he pointed out the MIDI continuous controller effects that are preloaded in as well. So now that I know what's going on, I'll take your suggestion and program the GCP individually, using the Line 6 as the reference. Planning on keeping some presets from the HD Pro X that I like and spending some time creating presets. I have a G Major 2 hooked up to the POD and plan to use some of its effects as well via continuous controller numbers. I hope that works out. Sounds a bit time consuming but interesting at the same time... choosing the effects that I want to punch in/out and assigning continuous controller patches. Again, thank you for that.

@stormstudios yeah, by 'seamlessly' I kinda meant this... On the GCP, I set the settings to "POD?" (in Utilities) and it uploaded/downloaded as much as 36 presets to the GCP (they may be generic presets) which in turn bears no resemblance to what it punches up on my HD Pro X. I don't get what or where these presets are drawn from. In 4 presets /bank, any of the presets do not match up to the Line 6 presets. I tried a few of the setlists but nothing goes with what the GCP is identifying. Even some of the Instant access buttons light up as to which effects are active within the preset. I'm wondering how yours can up without issue. Did you clear out setlists on the POD or have a special connection like MIDI to download your existing presets straight to the GCP? Meaning, did you transmit presets via MIDI into the GCP in order for the GCP to "know" what's on your POD? Hope you can answer this, as it would be a gamechanger for me.

Old thread now, but along these lines... If you have a MIDI controller to programmed access a patch on the HD Pro X and simultaneously activate a different rack unit patch via MIDI, Will the Pro X respond to that PC even if you have a FBV shortboard II controller wired to the Pro X?

4 year old post and I was wondering if the GCP does in fact work seamlessly with the HD Pro X?