radatats

Run the XLR outs to the FOH board and use the left 1/4 out to your amp for a mono signal. If you have a FX loop run straight in to the FX return to bypass your amp's pre section. Set your output to Studio Direct. There may be a slight difference in tone between the PA and your amp but it shouldn't be a game changer. If you are running a single amp patch and not worried about stereo effects, you can run one 1/4 to your amp backline and the other 1/4 to a powered speaker for monitor too. :)

When you turn off the amp blocks in the HD the DT reverts to channel B automatically. Set up your DT channel B with the amp you want using DT-Edit or midi and set gain, tone, volume manually and you should be good to go...

That is exactly what it will do as per the manual. Set channel B on the DT to the exact settings you want including volume, just as it is in your patch and when you switch from amp A in the patch it will switch to amp B in the DT25. Just remember that the channel B settings will have to be set manually every time as the patch will not set them for you.

Thanks for all the insights and advice. I am inclined towards the Weber but really not sure if it is something I actually need after all. I think I am getting all I need right now at home levels and he Weber isn't really going to give me much more. I really need a bigger house with soundproofing! I definitely agree that the sweet spot is really found with volume when the speakers and cabs can come to life, not just from driving the tubes a little harder. :)

Yes. Suggest you use studio direct output setting with XLR outs to your amp. BUT, you will only really notice it if you make use of the stereo effects or dual amps or cabs. That amp has separate volume for each channel so just use it to match your left/right volume if you like everything else with your patch. Google Meambobbo's excellent guide to using the POD HD for more detailed instructions on setting up. http://foobazaar.com/podhd/

You need to give us a lot more info to troubleshoot this. I assume the power amp does not have individual channel volume adjustment. If you are running dual amps and they are different then volume difference is normal and you need to compensate in the patch. If not, then follow these steps to troubleshoot. Load a new patch with an single amp only, check the mixer is panned hard left and right with both sides volume equal (0.0). Set output to studio direct. Check problem again. Try with both XLR and 1/4 outs. If there is still a difference, run a mono signal from the left 1/4 out to a splitter feeding both sides of the amp. If the problem is solved, we need to look further at the POD. If the problem persists, It's in the amp or cabs. Swap cabs left to right and see if problem follows. If it does, cabs need further troubleshooting. If it stays, amp needs troubleshooting.

Can't say for that particular unit but I have tried other tube drive pedals with my Flextone and they were not worth the effort. If you already have one, use it on the cleanest amp setting you can pull up but otherwise, save your money, the final result isn't worth the cash. You can dial in a great tone with the Flex and save the 2-300 bucks...

positive this is a mixer board issue. as hurghanico said, check channel pan, bus assignment, etc. the other possibility is you are being put into a stereo strip on the board and are only hitting one side with your mono signal. make sure they are putting you into a mono strip, panned to center.

look at the first pinned thread on this forum (Pod HD Tone Conversion Utility). That little program is amazing and will convert all your patches back and forth between various POD HD models. Import HD 3/400 patches, batch convert all your full amp patches to preamp patches with all your settings saved... Try it, you'll like it...

I am saying the output setting (studio direct, combo, stack etc...) is not patch specific. Once you set it, it stays the same for all patches. ie. You can't have studio direct for your amp patches and combo for your HD patches in the same set list.

Agree with silverhead. Try them and see what sounds best to you. However, once you set it I believe it is global and can't be changed with each patch. So if you are running the 4 cable set up and in the same set want to switch between patches that use the amp's preamp and ones that use the POD's preamp it stays the same. Find the one that works best with your amp and EQ your POD preamps accordingly. As far as other adjustments, you will have to take some time to volume match your patches so the POD pre's are close to the amp pre's. Set your amp volume where you want it and set the POD Master. Now adjust the POD channel volumes for each preset to match the amp volume and save them. Next time you set up you can set your amp volume where you want it and use the POD Master to match and all the pre's should be good to go. Have fun...

After blowing up another thread about low power tube amps, I am seriously considering a hot plate/attenuator for my DT-25. There are a number of different ones out there at various price ranges. I kind of like the Jet City Jettenuator, variable attenuation, adjustable line level out, XLR out with mic sim for FOH, and good for 100W amp., for about $240. Now I want to hear your experiences using one, good and bad, what brands you like and prices, values. Should I anticipate any downside for my amp by using one? Tube or transformer wear and tear? Other than putting an equalizer in the DT's FX loop for global EQ I think this might be the last piece of the proverbial puzzle...

sorry to hear you are going to sell the DT, I love mine for what it does best, single amp patches at volume. Unfortunately, there is NO good low power tube solution. I do not believe you will ever be satisfied with a tube amp for home use at low volume settings. I suggest you consider a decent stereo SS power amp and a 2X12 cab with a stereo option. This will allow you to make full use of the POD's capabilities as a guitar solution including creating dual amp patches, using the stereo effects and you won't have to play around with the 4 cable method. You can make all your patches with full amp models and the patches you create for headphones and monitor will require only minor EQ adjustments with this setup even when you get to play live. A nice 100x100 watt stereo amp and cab will set you back not much more than a low watt tube amp and give you more capabilities for the style of play you describe and the volume levels you wish to use than a tube amp. You do not gain anything special with a tube amp other than a DT model when using the POD. In fact, other than for the specific tones that particular amp gives when cranked, I think you would be taking a step backwards. :D

Simple. Same 4 cable setup but your patch will have no FX Loop Block. Now the signal will go: Guitar >--< POD Guitar In --- POD 1/4 Out (L mono) >--< Amp FX Return This patch will bypass the preamp in your amp and go straight to the power amp section and the cab. No cable changes. Change back to a different preset with the FX loop inserted and you will be using the preamp in your amp. ;)

you got it! :D

Let's be clear, the DT-25 has a tube power section. There is no solid state AMPLIFICATION in this sucker. The tubes are ALWAYS being used for output power. As I understand it, the only things that change in LVM relate to the signal being applied to the power section and whether it has additional amp modeling and cab simulation to account for the fact that the tubes are not being driven as hard. It is still a tube power amp with all the goodness that tubes imply.

Welcome to the 4 cable method. In order to place your effects where they will do what they were intended to do you will need to use this method. If you don't already know it: Guitar >--< POD Guitar In / POD FX Send <--> Amp In / Amp FX Send <--> POD FX Return / POD Out <--> Amp FX Return. (if your amp has a stereo FX loop, use TRS cables from the amp back to the POD and back to the amp again so you can use stereo FX blocks) This will allow you to put the effects you want before hitting the amp and the delays, reverbs, etc in the FX loop. You will need to set send/return levels to optimize but that is a one time deal. Google "pedal order" and there are tons of sites with hints and info for pedal placement. in general: Pedals that amplify or add noise should go near the beginning of the signal path. This includes overdrive/distortion effects, compressors, and wah pedals. If they’re later in the signal path, they will amplify the noise of everything before them, which can be difficult to control. Pedals that produce tone go before things that modify tone. This is logical, because you want to create your basic sound first, then tweak it with some kind of modifying effect. For example, this means that overdrives go before chorus effects. Pedals that create ambience go last. This goes back to the “how does sound actually occur in physical space†idea. So, delay and reverb should go after all other effects. In the end, there are no "rules", have fun with it... if it sounds good, play it!

I absolutely love the Shure SRH440 cans. They have great response and isolation, replaceable pads, 3M detachable cord, 1/4 adapter, carry bag and fold up for travel or storage. Live patches may need a little eq adjustment but that will always be the case unless you can build the patch with your live gear at live volumes. About $100 everywhere... As for the impedance, they are 32 ohms which doesn't seem to match up with the FAQ. Makes me wonder but I think if it was a serious issue Line 6 would have made the requirement a little clearer than a one liner in the FAQ...

That is the essence of what I was trying to say about "back in the day"... When all you had was a second hand amp and a beat up guitar with a pedal or two If you were lucky... there was no internet, no youtube, no detailed endless discussions of the nuances of plexi vs rectifier and you used your ears and imagination to try to find a tone anywhere near what you were hearing on vinyl... you just turned it up and went for it. We made the most of what we had and it was enough! I totally agree about neverending tweaking to try and exactly duplicate someone elses tones. FORGET IT! Start with an amp model and no effects and set it in the middle across the board. Then, one at a time adjust the tone knobs and the gain till you know exactly what they do for you and it SOUNDS right to YOU. Find a few amps that YOU like for different styles of music and learn what the knobs do. That is what we had to do back in the day because there was nobody posting on the 'net giving advice. When you get what you want, save it and it is always there to come back to. As for learning transferable skills? You can't realistically play with sag, hum, bias, cab resonance, etc. with regular tube gear... but it is nice to know what those are and what they do. When you get a basic amp tone you like, take a weekend and just play with those settings, one at a time and LISTEN to what they do. Once you can hear it, that skill will never leave you. You will know what the effect of sag is on a real amplifier in AUDIBLE terms. They modeled real amps so treat your models like real amps. Forget multiple eq's and distortion, just get good basic amp tones without any additions. You CAN do it... When you have all that down (and it really doesn't take that long) you will have a pool of GREAT amps to choose from that don't need tweaking and fiddling with that you have created with your own EARS and your own gear. Now you need to do the same process with your effects. I certainly don't use or like all of them but I know exactly what they do for my EARS now. I know the difference between a blue or red comp, and a tube comp. And I treat my effect chain just as if it was a real one for placement and order, pre and post. I have a couple of mods I like and some delays and reverbs. I don't use them all but I know what they SOUND like and when to add them. Do the same thing with your effects one at a time and save the settings you like in a new patch. When you are done you will have a pool of GREAT amps and GREAT effects to use and your constant tweaking can stop. DO NOT OVER COMPLICATE THINGS... In real life, some of my favorite players have the simplest of rigs and sound amazing. I strive for the same in my patches. I don't use multiple EQ's and gain stages. I use minimal effects and only when I need them for a particular sound. Finally, it's not just the amp or the modeler. You need a decent guitar with good pickups, good cables and really good cabs/speakers. My favorite patches may not sound worth a damn on your rig and vice versa. Get the best you can afford for the hardware and the software will make them shine. If you can't do that with this piece of gear, sad to say you probably won't be able to do it with the real thing either but you will be shelling out a lot of cash in the chase... In the end it really isn't the gear, it's US. We CHOOSE to fiddle or play. We CHOOSE to chase the tone. We CHOOSE to just appreciate what we have, to play and just LISTEN to it... Now let's see what new gear is on ZZounds today... LOL...

I really don't understand the whole problem here and I mean no disrespect. On the one hand you say you are mostly a home player at low volumes, yet you want the full crank tube tone. That is why modelers were invented and POD HD does it very well. You say you are considering selling the DT25 and getting an OR15H! You will never get the tone you want from that either unless you turn it up and you will lose all the flexibility and compatibility that the DT25 now gives you so that sort of contradicts what you want. If you go with another tube amp and the HD you will still have to recreate all your patches to work with the tube amp and you will have to fumble with a 4 cable setup as well. Still have to make adjustments at the venue. I guess using the DT25 without the POD works well but I don't see how you are saving any amount of tweaking. You only have two choices, A or B, but every change requires you to reset your drive, tone stack, channel volume, etc... and you still have to play with it till you find the one you like. And every time you set up you have to reset it just the way it was again. Not so with POD and that is what we bought it for. The only thing that comes close outside modelers is the new H&K Grandmeister. But again, while it has different channels it is still only one basic amp. And you still have to play with 4 cable setups etc... It does have the built in Red Box (attenuator) though which would put the DT over the top for me... I have been playing now for 40 yrs and while this setup has taken time to learn, I have never had so many options in my life for so little expense. We are truly spoiled rotten and that may be the real problem here. Not so long ago you played what ever you had and cranked it balls to the wall. When you could afford it you bought something bigger, louder, better but you played what you had and loved it. Today we have this little miracle in front of us that allows us to play virtually all the greatest amps and cabs in the business with an amazing array of effects in almost any configuration we want without noise, interference, impedance mismatching, dead batteries, tube failures, thousands of dollars in mics and other professional gear. And yet we sit here jonesing over some elusive magical "tube tone" that is just around the corner. I have yet to see an audience walk out because the lead player's tone was "sounding digital"... The magic is still in the fingers. Nothing is perfect. If we had the best Marshall/Mesa/Fender/Splawn in the world we would still most likely be complaining that we just couldn't quite get that one tone it was never designed to give us anyways. We need to make the most of what we have and realize that what we do have is as good as it gets today. Make your patches the way you want them and continue to grow and learn as a musician and technician. I see there is a great conversion utility pinned to the board that lets you batch convert your full amp patches to preamp patches. Use it and save some time along the way. Concentrate on the goodness you are getting and ignore the little crap, because believe me, there was ALWAYS little crap, it just cost a hell of a lot more to overcome. I hope I didn't upset anyone, I meant no disrespect or harm. I just hate to see someone unhappy with their gear when it really is such amazing stuff with incredible capabilities...

thanks Inerzia and hurghanico, both worked... interesting that the FX loop will kill your stereo path after the mixer...

From the manual - "It is important to note that some Models (all EQs, Wahs & Volume, and some Modulations, Filters, Pitches and Delays, as well as the FX Loop) preserve a stereo output within the signal chain, while others (all Dynamics, Distortions, all Amps & Preamps, and other various Models) are mono FX and do not." I am sure it has already been answered but I couldn't find it :(. Anyways. i have been through the manual and the M-13 Parameters and Advance manual and can't find a simple list that states which blocks exactly are true stereo. Secondly, I use a noise gate first in my dual amp patches as does Meambobo and most others... does this make any difference? Or is the signal just split into true left and right when I add the second amp path provided I pan hard left and right don't put any mono FX blocks after the mixer? Third, I guess that if I only want an effect to be heard on one channel (L or R) I need to place a mono fx block in the amp path after the split and before the mixer. If I use a stereo fx there will be some bleed through no matter how I pan on the mixer, right?

I have had line 6 gear for ages now and love the HD500 and DT-25 too. My rig has 2 matching 2x12 cabs, 1 with the DT-25 and one with my Flextone II head. I run the link to the DT and the 1/4 outs to the FX return of the Flextone. I set the DT master to a level that works and match the Flextone using the master on the POD. I can compare my patches side by side and also get an amazing stereo wall of tone that way. I also use Shure SRH440 headphones for most tone building before trying through the amps. All that being said, I honestly believe the straight POD tones stand up on their own. I often wonder why I dropped so much cash on the DT. I like to set up dual amp patches and obviously the DT won't do that. I just let it push the amp in the A channel. In reality the DT-25 is nothing more than a single channel reconfigurable tube power amp when using the POD. If you are clear about that, OK. Of course it is a really good one and my single amp patches shine with it. As for gigging, I have multiple choices about gear setups... both rigs for backline, or just one of them, and the xlr outs can always go FOH either alone or in support. BTW, I also have my cabs wired so each cab can run stereo by itself too so I can get my true dual amp tones with a stereo power amp from the POD with just one cab. Many options this way that you can't have with any other gear. I would suggest you keep your DT-25 setup and if you want another option for at home use, just get a quality stereo power amp (SS) and either a cab to match what you already have, a stereo 2x12 cab or a pair of FR cabs. You will spend less cash and less hassle than trying to fiddle and tweak another tube amp to do what the POD is already doing for you. And who wants to mess with 4 cable setups anymore? Not me... As for going live, no matter what setup you choose there will always be tweaking at the venue but it should not be much more than basic EQ during soundcheck or your patch wasn't right to start with. That is the biggest drawback to the POD, no global EQ... I also have an ADC EQ into a Rocktron Velocity 300 power amp that I can run with the POD that fixes that issue and sounds great too. Just my opinions...

Yeah, you are right, I tried it and it was no good. Meh, maybe he has one that will work, worth a try. But seriously, if you can't find what you need, at least as a starting point, with everything that is already out there you need to switch to playing bass...

Try just changing the file extension from .lt6 to .h5e and see if it opens. I downloaded a zip file with thousands of presets for all different Line 6 gear and they all ended with .lt6. When I changed the tail for the ones in the PODHD500 folder to .h5e they all worked perfectly. Not that they are all great tones but... zip file links below. If you want to change the tail on a lot of files at once try this: http://download.cnet.com/Extension-Changer/3000-2072_4-10394272.html http://share.cx.com/KM7R7k http://share.cx.com/hWBktR http://share.cx.com/vCs7mJ