phil_m

The dimensions of the HD Pro are: Height: 2.91 inches (2U) Width: 21.5 inches Depth: 10.29 inches So it's not all that deep.

This is a pretty common problem when trying to connect two amps to a single pedal. You probably need to look into something like this: http://www.sweetwater.com/store/detail/Hum?utm_source=Google&utm_medium=PPC&utm_campaign=none&device=c&network=g&matchtype=&gclid=CLeSybKXpbcCFfFDMgodw1sAfw or this: http://www.amazon.com/Behringer-HD400-2-Channel-Hum-Destroyer/dp/B000KUD2G4 An ABY box may help, too. It depends on whether or not you want the switching capability.

If you just want to record dry guitar tracks, there's a much easier way with the X3. The X3 actually has 8 tracks of audio output over USB. Tracks 7 & 8 are the dry sends from the inputs. I think that will be much easier than going down the road you're looking at.

Yes, you can stack the combo on the extension cab.

I had an interesting experience a few months ago. I was traveling back home for a wedding, and I was going to be there for the Sunday afterwards. I'm good friends with the worship leader of the church we attended back home, so I sat in with their band that Sunday. I didn't have room to pack a lot of stuff. I had thought about packing my HD500 and my guitar, but in the end, I didn't think it was worth paying the $70 or whatever for the round trip for my guitar and everything just to play in one service. So I told my friend if he could find a guitar adn an amp for me to play, I'd play. I know usually, there's a guy who has a Fender Blues Deville at the church, so I figured even if I had to just go straight into that, I'd be OK. Well, as it turned out, that amp wasn't there. The guitar that my friend was able to round up was a cheap Austin Strat copy. The amp I ended up using was a little wee 15W Roland Cube. This was an older version of that amp. Some of them can sound decent, but imo, this thing sounded like crap. But I soldiered on. Anyway, after the service, I asked my wife how I sounded. I said, "I'm sure it sounded horrible, because I sure couldn't stand that amp". Her response was that I sounded pretty much like I always did. Now, I'm not tempted to sell any of my amps or guitars because of this. But I do think that when it comes to gear and personal style, we care about it much, much more than the people listening to us. A big part of it is simply being comfortable with the way you personally can interact with the gear. That morning, I wasn't comfortable, but I was able to muddle through it.

Well, I'm not really in any position to argue about the actual specs of the batteries, but in my experience most lithium ion batteries seem to lose their charge much more quickly than this. It seems to me that when I charged my spare battery in had in the case for two weeks, when I went to use it, it was less than 50% charged. There's no voltage monitor or anything on the Variax battery itself. Perhaps there is some circuit protection built into the batteries themselves.

Actually, there is a way to see all the parameters of an effect at once while editing on the POD itself. When in signal flow view, go over to the effect you want to edit using the navigation pad, and once the effect is highlighted, hit the "enter" button twice. This will take you into FX edit Mode. You still are limited to actually adjusting one parameter at a time, but you can see all the values for the different parameters on one screen. It's explained in pages 5.1 - 5.3 of the Advanced Guide.

I had written something earlier, but I deleted because I didn't feel it added a lot to the conversation, but I'll throw my two cents in again. I don't own the M20d, and I honestly haven't done a lot of research on it. But nothing in Line 6's promotional materials led me to believe that it was a full audio interface. I took the USB streaming feature to be simply that - a streaming of the raw audio tracks over USB so they could be edited in a DAW later. I don't think Line 6 designed the M20d as a studio product. It has always been marketed as a live mixing solution. In fact, the product tab it's listed under is "Live Sound". So what I envisioned was something that would give a shortcut to track the band live without having to use a bunch of patch cables going into a recording console or other interface. I never really thought that the M20d would allow playback and editing from the computer. Well, again, I think you're making an assumption. There are other digital mixers on the market that have USB audio outputs, too, and they aren't fully functional interfaces either. And in most of those cases, a lot of those mixers only give you a left and right output from the master. So in that respect, the Line 6 mixer is offering a lot more.

ON the 89 and 89F, the Custom 1 bank is hard-coded with the model of the magnetic pickups on the guitar. It essentially gives you access to a model on the Variax that sounds like the mag pickups that you can use with alternate tunings.

I wouldn't say you never hear about it from those other brands. It's odd you bring up the PRS SEs, because the Variax is actually made in the same factory as those. It's just with added complexity, there's more things that could go wrong. So that means there's more to look for in the way of problems, and it means that there's more that could possibly slip through. It's interesting, I was at a training session/factory tour last week for my work at one of the largest theatrical lighting and controls companies in the world. You've undoubtedly seen their products if you've ever gone to a rock concert or Broadway show. They do most of their manufacturing in the US still, and they actually do a lot of testing on their products before they leave the factory. But even then, they said, "we make electronic equipment, and we know we will have failures sometimes. It just happens." A certain failure rate is simply unavoidable when you're dealing with mass production.

I've got to say I've never seen anything that led me to believe the M20d was a complete audio interface that could be used with a DAW. All I've seen is that it can record raw audio over USB, and that can be imported into whatever DAW you're using. Really, though, this can still be quite useful.

I've not heard of those. If you're actually looking for lower tension strings, I think the DR Pure Blues series would fit that bill. People either love or hate DRs, though. I like 'em. I put flatwounds (D'Addario Chromes) on my Gretsch G6118t. They're definitely not low tension, but I like the way they feel on the guitar.

I picked up one of those Hosa cables and haven't had issues with it yet. The termination they use use is the reason it's relatively cheap. It seems they fail much more often than a Neutrik connector. But I got mine mainly for use at home, so it's works OK. If I start gigging out more with the DT-25, I'll probably get a better cable.

People have gone around and around on this. There's nothing wrong with using a standard mic cable. It's just that the information being sent over the cable is digital, and the Line 6 branded cable is actually an AES/EBU cable.

+1 to what Silverhead said above. There's not really such a thing as a digital or analog cable. What's digital or analog is the information that gets passed over the cable. The difference between the three cable types that use XLR connectors (lo-z mix cables, DMX, & AES/EBU) is the construction and shielding of the cable itself. All three cables are using copper conductors, but each is a different impedance. Mic cable is rated at 80 ohms. DMX is 110 ohms. AES/EBU is 120 ohms. So I would have to think that because the difference between the impedance of AES/EBU and DMX is relatively small there would be less risk chance of having problems with it than with regular mic cable.

Most of the effects on the M5 aren't true stereo, which is what you need to accomplish what you want to do. Most of the effects are either mono, meaning that stereo inputs get summed, and a dual mono (the same signal on both sides) is sent to the L & R outputs; or they're mono in/stereo out. For those types of effects, the left and right inputs are summed, the effect is applied to the summed signal, and the output is stereo - meaning there's some stereo difference between the L & R outputs. Ping Pong Delay is a good example of a mono in/stereo out effect. There are a few true stereo effects on the M5 that would keep the kind of separation you're looking for, but looking at your diagram, they're not the effects you're wanting to use. Here's the official listing of how the routing of the effects works: http://line6.com/support/docs/DOC-2771

The L6 Link cable is simply an AES/EBU cable. So you should be able to find those in different lengths. Here's a 6' one (but it's pretty expensive). http://www.sweetwater.com/store/detail/AESS6

Do you have the X3L or the X3 bean? I'm wondering if this isn't related to the USB dropout issue that happened with some of the X3Ls. If it is an X3L, you should be able to get the repair covered under the extended warranty related to this particular issue, I think. This thread describes what was happening: http://line6.com/support/thread/8015

In Reaper, you need to go to the "Options" tab at the top of the screen, and then select Preferences. Once in the dialog window, you'll see a field that says Audio on the left hand side. Underneath that, there's a tab that says devices. This is where you set the POD as your input and output device. This assumes that you've already installed the drivers for the X3.

Are you using the POD's amp modeling? If not, and you're just using if for effects, studio direct is actually what you'd want to use.

I don't believe they're discontinued. Occasionally, the stuff in the Line 6 store is sold out because there are delays from suppliers or other things. The pedal still seems to be available from most online retailers in the US. If you want a pedal that's more heavy duty, I'd suggest you look at the Mission Engineering EP1-L6. I'm not sure what their policy is regarding shipping internationally, though.

Were you led to believe it would be implemented? I actually can't imagine that the master volume is something that can be controlled by MIDI. The master volume know on the HD500 is an actually analog potentiometer. So there's not really anything for a MIDI CC to control. The one thing you can do as a workaround is insert a volume pedal effect into you tone at the very end and assign it to be controlled by one of the expression pedals. You can then control the expression pedal by MIDI by CC1 or 2. Or you could assign one of the expression pedals to control the channel volume parameter in the amp block.

I don't have a picture of it, but I picked up a used one of these at Guitar Center a few weeks ago: http://www.musiciansfriend.com/amplifiers-effects/fender-blues-deluxe-reissue-40w-1x12-combo-amp Wasn't planning on getting anything, but I happened to walk by the used stuff, and they had just marked this down to $350. I couldn't resist. Even the sales guy was like, "yeah, you could easily sell that for what you're paying...". Which is true. I could probably sell it for $450 on Craigslist. It's in excellent condition still - only a few scuffs on the tweed. I will probably keep it, though, and sell my Blues Jr.

Well it hasn't been addressed. It seems to be more noticeable in some setups more than others. This is actually not an uncommon complaint when using modulation effects from all sorts of manufacturers. I think it's related to the fact that with many modulation effects, there's actually a perceived loss in volume normally. I think programmers build a boost in to combat this. It's not as noticeable when you use effect in front of a clean amp. It can be more noticeable in a loop. It would be nice if there were actually a boost/cut parameter included with the modulation effects. This is what Strymon does with the Mobius, for instance.

I should clarify my earlier comment. Whatever the first amp model you select in a tone is, the class and topology on the DT amp will go to whatever the default settings are for that model. You can, of course, still change the class and topology in the tone. So you can create hybrids of whatever you want with dual tones on the HD500. It's just you're stuck to using one topology and and one class per tone whether you have one amp model or two. Of course if you add another DT amp, than it's another story...