radatats

after reading your post I am the one that was missing it... thinking it through the way you described it makes sense... there really is no significance to using the L6 link in that setup. what you said about speaker modes I didn't consider but you are right. I guess they could have put a blurb in the guide to explain that but whatever... thanks! now just so I fully understand... to run my POD in full stereo and run tracks in stereo at the same time, I would connect the POD to channels 1 and 2 on the side panel and the tracks into the back panel right? L2t's connected by 1 or 2 L6 links? dual mono or stereo? adjust all 3 gains for level matching? Is it easier then to use a small mixer and 2 L2m's?

DOH! Facepalm... my bad... and this is a great thread because I want to do the same thing and am looking at a pair of L2t's. If this can't be done, fuggedabowdit...

I'll probably get flamed but... why are you not using the L6 link with your dream rig? There are a lot more things to go wrong if you are using it the way you indicated. The rig is designed as a system and works better together IMHO. I haven't had a single issue with my dream rig using it at multiple locations. It goes together the same way every time and I have a ritual about the order I turn things on just because they are computers that need to communicate. I have left my stuff on overnight on occasion (luckily in Standby) and everything fired right up. Obviously you are not having the same luck and there are others too not so lucky. However, I don't think chucking it all in the bin is the answer either. Having said my piece I do wonder why anyone would still be reading and posting to this forum if they have already dumped their gear and moved on?

Once you have the basics of outputs and connections setup and optimized, look at the CAB DEP parameters to clean up that muddy tone. For me that often works well without having to make excessive tone stack changes or additional EQ...

Yeah I see what you mean but you can set up 4 different combinations of effects (banks) and cover a wide range of possibilities. Good luck with the tapdancing remembering which FX is where on the board! There is an interesting thread about magnetic labels for foot switches which would probably be a Godsend for that... I posted in a thread a ways back about an alternate method for 4 cable that does not use the FX block, may be interesting reading... http://line6.com/support/topic/5972-4cm-method-improved-less-latency-less-noise/?do=findComment&comment=43085

I understand you asking for help but you have to realize that even if somebody gives you the perfect patch it is only perfect for their rig. So much depends on your guitar, pickups, amp, speakers, cords, and most of all your fingers that you really need to build your own patches. Try Googling your artist and his actual rig and start by using a similar amp model to begin dialing it in. Add effects one at a time until you get it close. It will never be exact so don't sweat the small stuff. Get it in the ballpark and concentrate on your playing instead...

optimus7 I don't understand the issue... the POD lets you use up to 8 FX simultaneously and 4 separate banks... how is that more difficult or not as effective as the M13? what is it you are trying to do that the POD doesn't do? JTSC777 how does the POD for FX only into the Crate work compared to the M13? I have a Crate VFX5112 with the FX loop but it is really a PITA to hook up and get all the levels right...

The switches can be cleaned and "overhauled" fairly easily. Google it and there are some vids available. There is a spring inside the switch that can become compressed and no longer makes good contact; stretching it out or replacing it usually does the trick for next to nothing...

Just to add fuel to the discussion, have you gone into the L6 Link tab in the POD setup and specified what should be sent to each L3t? Also, from the L3t Pilot's Guide: 4. Stereo Link Switch – When the Stereo Link switch is set to Dual Mono, each of the two channels retains its own settings. When connecting a stereo source to the two inputs, it can be convenient to have a single set of controls adjust both signals simultaneously. Placing this switch in Stereo Link mode disables Channel 1’s controls and allows Channel 2’s controls to affect both inputs. When using a single L3t, all stereo signals are summed to mono before being output to the speaker. If a second L3t is connected via L6 LINK, stereo signals will be split automatically between the two speakers. See page 16 for more details. (So counter-intuitively, you need to use Channel 2's controls in stereo mode...) Note that the Acoustic Modeling circuit applies to Channel 1 only, so it is disabled in Stereo Link mode. (that's interesting, I never saw that before) What happens if you send your stereo signal to the CD/MP3 input on the POD?

this sounds a lot more like a fugged up service center than an actual Line 6 service problem... of course you will never know but I would bet dollars to doughnuts there is nothing wrong with the effects board... I guess I am just the lone lucky dude in the universe but I have never had a spot of trouble with any of my Line 6 gear other than a worn pot on my original Spyder 210...

this is probably the ONE thing that has kept me from getting a L2t. Actually I have been on the fence for a long time now but I am seriously considering selling the DT and going straight FRFR just to finally get rid of all the various configuration issues. Very agravating...

nice job on Black Dog by you and the whole band... thanks for the patches! I am not usually a fan of females doing Zep but she nailed it...

Unfortunately, I think the problem is in the Church wiring. They should have run the sound power circuits on a separate isolated feed circuit but instead I bet they all tie together somewhere. They should hire a good engineer to check the circuits and get them isolated and those problems will disappear. Until then you are stuck with it...

there is no difference in tone between XLR and 1/4 outs, just signal strength. 1/4 are line level and XLR are mic level, much quieter. Don't know why there should be a huge difference between the in ears and the house. Of course the speakers may color the tone somewhat but it shouldn't be too drastic. Check with the sound guy and see what he is doing...

Unfortunately, no. There is no capability to provide that type of switching for effects or channels...

so I don't know whether you are pluggin your headphones into the POD or the amp. You will have a crappy tone from the POD because you will be missing the amps power section and any cab/mic emulation. Plug into the Blackstar stereo speaker emulated output and you can apparently turn off the speaker for silent practice or recording. This should be as good as with the amp turned up. If you are already using the amp jack, unplug the POD and try just using the headphones in the amp alone and see how it sounds. If you can get that right then hook up the POD again and keep tweaking.

without using the POD for changes, just making changes to the amp model by midi, the controls will stay with the physical knobs on the DT25, they will not save with the amp model. If you have the knobs dialed in for a Blackface and switch to a Treadplate you might just melt the paint... good luck with the G Major but I don't see it being any better personally...

Yes on both questions...

You may need to have your amp serviced as it sounds like there may be a bad cap or component in the gain channel, perhaps associated with the FX loop.

Unfortunately, the short answer is you can't. If you are using the DT with L6 link, and I am sure you are, the POD automatically switches to Stack Power Amp Output instead of Studio Direct as soon as the DT powers on. That means while the tone sounds awesome coming through the DT, it sounds like crap coming from the PA. Your best bet is still going to be using the Direct Out from the DT to the board. I don't like it either but your only other option is to run the left 1/4 out to the FX return on the DT and manually select the power section of choice using the DT controls and running the POD XLR's to the board, all while keeping the POD in Studio Direct. Either way is a compromise as you are either optimized for using a guitar cab and speaker or using a PA FRFR setup. Pick one and live with it... Personally I am seriously considering selling the DT and going FRFR all the way simply to avoid all the configuration hassles... It still sounds great anyways...

sounds great, nice tone...

4CM is always a hassle getting levels set properly. You have to understand that there are so many variations to the signal strength starting with the POD FX send to the amp in, the Bugera FX send, the POD output and the Bugera FX return. I generally set the POD FX and output to Line but you may need to try Stomp or Amp to lower the signal strength. The Bugera also has calibrated Level controls for both the FX send and return. Turn to the right to increase and to the left to decrease. 1 - try lowering the Bugera FX return signal using the calibrated Level controls. From the manual: To achieve a possibly noise-free signal, set the FX Send Level (23) relatively high and the FX Return Level relatively low. 2 - if that doesn't help try switching the POD FX send from LINE to STOMP. 3 - Also the POD Master should be at least half way up. You want a good signal to noise ratio but not a super hot signal. 4 - Try to set the levels so that each stage is similar in volume to just having the guitar plugged into the amp. It takes a lot of plugging/unplugging of cables...

anyone else notice the effects on the M5, M9 or M13 being any better or different to those in the HD500? Far as I know they are the same effects. Is there a difference in how they are processed?

plug guitar in POD, Flextone is just a power amp in this setup. Everything is coming from the POD...

You will have to try various positions with the EQ because where it sits in the signal chain affects what it does. If you want to color your distortion put it in front of your MXR or preamp whereas if you want a final global EQ put it at the end of your chain between the M13 out and the Amp FX loop return... Try moving it around to see what you like...