radatats

Been down this road before in depth. Bottom line, keep your firmware upgraded to the latest version using Monkey and then set either one in what ever position you like. There is no difference between the two. They work together and seemingly in series. There is no one combination that results in more tube drive than another. Volume is the only way to fully drive the tubes and that requires both Masters to be used. Personally I set my DT to around 12 oclock and use the POD master to dial in the loudness. Channel volume on the other hand is primarily for balancing volume levels between various models once you have your master volume set. http://line6.com/support/topic/4231-channel-volume-vs-master-volume/

Played with my Mandarin patch for a few hours tonight and found a really cool trick. Lock the JTV tone knob at 85 and then link the tone knob to the F.A.C. control on the Mandarin from 20-60. Gives a whole other range of available tones right there at your finger tips... Bright to dark... Very cool!

awesome work as always! love your charts!

it will only be as good as the plugins... judging from this crowd, its gonna have to be awful damn good to pass muster... if you want to see what the Axe is like, download the Axe Edit and take a look... yep, guitarist's nightmare...

yep, its already been noted and Line 6 should be working on it...

Two things.. First - I got to spend some time today with the Mandarin (Orange) amp. I was able to dial in a tone that made the whole bundle worthwhile! Changed cabs and mics, added the 4 band shift EQ, red comp and overdrive pedal, a little digital delay and a 63 spring reverb. Tied the overdrive and comp to the expression pedals and this just covers a wide range of tones so easily. Cleans up nicely with guitar volume and dirties up with the pedals... sweet! Second - I recommend you try Riffstation. You can easily change pitch and tempo, it figures out the chords for you and you can dial out or isolate the guitars fairly well. You can also break down the song into riffs and rearrange them in different orders... its a good tool for practice and learning...

cool. I see what your doing. Treating each cab like a different venue. Different cabs need different settings to keep the tone close to baseline. :)

not sure there is enough real spread to effectively separate two guitars. What it is really good for is tweaking 4 separate parametric bands at the same time using only one FX slot. The shift knob is essentially the Frequency knob on a regular parametric EQ moving all 4 at the same time. Not the greatest idea but very useful. I have been using it a lot since this thread got me to look at it again and it is really easy to use once you understand what it is doing. You can also use it to find those harsh freq's to dial out by cranking the gain on them one at a time and sweeping the shift till you find the offender and then dialing the gain back down. Now fine tune the other gains to get the tone you need. It works wonders with the new 5150 by the way...

so just to confirm... the exact same patch in the Firehawk hooked up identically sounds better than the POD HD?

True... However, if it was your main cab used on a regular basis, would you not adjust your patches to a good baseline and then use the Global EQ to adjust back to baseline when you change locations? OK, I'll shut up now. Of course it is just another tool to be used for whatever it works for, there are no rules. The guy I was answering was asking for us to share our settings though which to me would be totally unworkable without us being in the same room with the same gear...

Sure you can use it for anything you want but that is not what it was MEANT for... and as soon as you are done with that cab then you would go back to your default setting or turn it off. Still not what the guy I was responding to was asking for though...

Global Eq is not something to use in this manner. It is for you to make final adjustments to your overall tone to match different venues you may be playing at. Unless there is a specific acoustical problem in your regular practice space, leave it set at the default position and make all tone adjustments within the patch. Then if you go to another location that needs a little more overall treble or perhaps less bass, you can use the global EQ to make that adjustment for ALL your tones at one time. Set it back to default when you return home.

This has happened to me before and muchto my chagrin, its generally because the new patches have different inputs assigned and I didn't notice. Check to see that the inputs are matching up with the gear you are using. The other typical problem comes from putting volume pedals in the patch and saving with zero output. Make sure your expression pedal is calibrated and just give it a quick swipe from zero to full volume and see what happens. I personally take the volume pedals out but that's just me...

I also updated my JTV69 and replaced all my banks with the new factory ones. Well, newly installed anyways. I haven't done an A/B with the older factory banks but I can say that I find these ones don't need any adjustments. So far I am happy with them just the way they are. I may still reload some custom models I made previously but so far so good. To be honest, I rarely use most of the models. I love the Lester, Special and Semi models. The acoustics are great too. The Spank is OK, seems better than before to me. Tele is not so hot for me and needs work but that is just me. I don't have one to compare with so not commenting on its realism. I rarely use the other models and will probably overwrite them with modified models, except for the sitar, banjo and resonators. Still, this is by far my favorite guitar... no complaints...

damn, my one guitar might break so I think I will drag 4 or 5 others around with me instead... what could go wrong? lol...

so this is a 4 band parametric EQ with fixed Q, and variable gain. The shift knob moves all four center frequencies simultaneously either closer together at 0% or farther apart at 100%. This one is poorly explained but one we should probably use more often... good info in the video above too...

Ha! I didn't know I was limited in how many up votes I can give in a day... apparently I hit the limit... now I have to switch gears and start issuing down votes... :ph34r:

these are modelers and thus recreate the complete final tone including amp cab and mic. That is why they generally work best with a full range flat response system like a pair of powered speakers like the EV's you mentioned. They can be played through guitar amps but will definitely benefit from the FX loop to bypass the amp's internal preamp. Guitar speakers have a naturally limited range and will color anything you put through them. If you also want to be able to use the amps internal preamp you will HAVE to have a FX loop to do the 4 cable method hookup. Google it, there are plenty of instructional videos out there. If you really need the 4CM then I would suggest the Firehawk rather than the FX100 just so you can use the HD pre models. Personally I would go with the speakers. A lot of advantages, light weight, low maintenance, easy to set up and sound awesome in stereo too...

yep, unfortunately too many think that just because so and so used a particular amp on a certain song on their favorite album all they have to do is plug in to the latest modeler and sound just like it... (not necessarily the OP, just in general). All those recordings are processed...

personally, in my opinion, the entire live sound product line needs to transition to Yamaha and leave Line 6 to concentrate on building the best most innovative amp sims and guitars. Let them get back to what made them the leaders in the first place. Yamaha has a long history of great PA systems and could easily absorb this tech into a widely distributed product line lowering costs for everyone along the way. Change the branding and the form factor to make it seem more mainstream and get it adopted to a wider performer base. The tech really is good. And Yamaha has a 7 year warranty on their speakers...

unfortunately (fortunately) the HD500 is a sophisticated piece of gear that requires an approach similar to what a sound engineer would do at a recording desk. It is a very accurate model of the real gear in its raw form. It is up to the user to configure it with the right cab/mic settings and effects to get the desired tone. And I like it that way. I can pretty much get whatever tone I am after in the end but it takes experience and work to get there... This is definitely not a plug and play device. From what I have seen, the Amplifi and the X3 live are more plug and play, right out of the box and need less tweaking. But that also leaves you with fewer overall options to get that sound that's in your head... It's all a trade off. I learned a long time ago that my HD500 isn't gonna let me pull up an amp and instantly do an A/B with the real thing and be happy. But the tools are all there to get damn close...

for the OP, do you have a 5150? Have you regularly used one or just listened to one on recordings? From what I have learned so far, these are very realistic models of what the actual amp sounds like and often the raw amp tone is not what we are used to hearing from our favorite performer... They all take a lot of massaging...

Yep, they are too rich for my blood at these prices but I agree, $200 lower and for me they become a competitive choice...

thanks guys, worked on what you started me off with and I got this one really close for Ghost of the Robot Graveyard using my JTV69 into FRFR. http://line6.com/customtone/tone/927623/ By the way, very happy with the latest JTV firmware...