phil_m

The whole point of using an external controller, or at least to a large degree, is being able to quickly have the device being controlled go to whatever preset you want, with the possibility of coordinating that with other devices being controlled going to different presets at the same time. I’ve always thought having specific next and previous preset MIDI commands seemed a bit redundant (which is probably why most devices don’t have them).

Most MIDI controllers have something akin to scroll mode that allows to scroll through successive MIDI PCs. I guess I took the post less literally, too. It just sounded like he was asking if he could use a MIDI controller at the same time he was using the EXP/FS jack.

You certainly can do that.

Open up a support ticket. It might end up being not a big deal.

If you did the factory reset and the factory presets didn’t reload automatically, you should re-flash your unit. Just run Line 6 Updater and send the 2.92 firmware to your unit again.

In the real world, it’s not at all rare to add time-based effects to recorded guitar signals after the fact. It might be more common to record guitars quite dry, actually. This is a short video, but I always point to this video as a good example of someone dealing with raw guitar signal.

The Stomp doesn’t have the Command Center. The only MIDI command it can send is the PC associated with the preset when it loads. This behavior is controlled under Global Settings>MIDI/Tempo>MIDI PC Tx. The Command Center functionality is going to be added in the 3.0 firmware update, fwiw.

There’s no compatibility between the two devices. Nearly all the amps and most of the effects from the HD500X are modeled on the POD Go as well, though, so you could try recreating them as best as possible. There’s no split or parallel paths on the POD Go, of course.

The Powercab needs to be updated to the 2.00 firmware in order for the control over the L6 Link connection to work.

Yes. Download HX Edit 2.92.

My advice from playing in various church bands over 20 years is that a lot of time mix problems really aren’t mix problems as much as they’re arrangement problems. If you have keyboards or piano, an acoustic guitar, and an electric guitar or two, that’s a lot of midrange instruments, and beyond the fact that they’re all living in the same sonic space, you also have multiple vocals in that same range, too. So you really need to pay attention to what you’re playing along with what everyone is playing. Sometimes someone will have to stop the band during rehearsal and say, “OK guys, the electric is carrying the song during this part, so the rest of us need to hang back...”. That will help a lot. I wouldn’t be afraid to simplify things a lot more than they are on the recording. Beyond that, I’d say that even though P&W music is synonymous with big delays and reverbs, in a live setting a little can go a long way. One rule of thumb I’ve learned from mixing is to set those sorts of effects so you think they sound good, and then dial the mix back some. That can help so you don’t get that build up of mid-range wash.

Yes and no. The license for POD Farm is tied to the hardware. So in order to have access to your license, you'll need to have the UX2 connected to your computer. But even with the UX2 connected, you would still be able to use a different interface with POD Farm in your DAW.

Sure. It’s very simple to do that. You don’t have to have any blocks in a preset. Go to a blank preset, open the Command Center, and assign the MIDI commands you want to each footswitch.

Under Global Settings>Ins/Outs>Amp Out Source, you can set the Amp Out to be “Main Out”, which copies the tone coming from the main outs, or “Pre Cab/IR”, which taps off a signal right before cab/IR block. So if you’re not hearing any cab modeling, it’s would be set to “Cab/IR”.

What version of OS X are you using? If it’s an older version, then it’s related to this, and there’s nothing Line 6 can do about it:

The top is stamped steel, similar to the Helix LT and HX Effects. The pedal is aluminum, and the bottom is molded thermoplastic.

You could set up a dual path and have the paths merge together, but I think the easiest thing would be to put a Return block as the first thing in your preset. When you’re playing the bass, then simply turn on the Return block (set the Mix to 100 so there’s no bleed from the Guitar In). Then when playing guitar, just bypass the Return block.

I've been meaning to reply to this thread for awhile. At the heart of this issue is that all Line 6 products are designed around a TS expression pedal. They may be the only company in industry that does this. It goes back to the 4-button stomp modelers, where people using expression pedals with effects pedals was still somewhat rare, I think. The big thing with those was that you could use a regular TS-TS instrument cable to connect the pedal rather than a TRS-TRS cable. Some TRS pedals can be made to work in various way, but they aren't exactly what the EXP jack is looking for. A standard TRS expression pedal circuit is like this: When you move treadle, it varies the voltage going back the tip. The value of the potentiometer in this scheme isn't important, as it's not directly in the expression circuit. The Line 6 EX-1 and Mission Engineering EP1-L6 are wired like this: With this scheme, the potentiometer is acting like a sink for the voltage coming from the EXP jack. Because the ring connection is grounded on the TRS versions, I think that why some of those end up working. The voltage between the tip and the sleeve is still being varied by the treadle, but at some positions, it grounds out, so you get the jumps to 0 or 100.

I think a lot of it is related to the Fletcher Munson effect. The louder the volume, the more sensitive our ears are to treble and bass, and the less sensitive they are to the mids. This can happen with traditional guitar amps, but guitar amps are more self-limiting as far as what frequencies they can produce. An FRFR type speaker can produce a lot more treble and bass, so when people start turning up, suddenly stuff starts sounding more thin and more boomy. So people in turn start blaming the modeler. One easy thing people can do is create their presets at gig volume. I realize that might not be possible all the time, but if you can get some volume at home, you’ll find that things translate better live.

No, there’s not. Wireless USB is something people have been talking about forever, but I don’t think there’s anything doing it consistently well. You could try a longer USB cable, although I probably wouldn’t go longer than 10 feet.

Those are the MIDI over USB messages the POD Go will respond to, not ones it sends.

I was under the impression that the only MIDI data the POD Go sent was PC messages when changing presets. I don’t believe there are MIDI messages sent in Stomp or Snapshot Mode or by the expression pedal.

Have you opened up a support ticket? This sounds like a bug, but you’re the only person I see reporting it for 2.92 here or in the big Facebook group. I’m sure the development team would like as much info from you as you can give them.

It sounds like something isn’t right. Muffled isn’t a term I really ever hear applied to the HX modeling. It be some sort of hardware issue. I have I occasionally seen people have that sort of thing happen with the Helix over the years. There’s no differences between the demo units and stock units as far as the design, but it’s always possible to have some sort of unique hardware issue. Obviously, if you’re hearing demos where it sounds really good, it’s capable of making those sounds.

Those all have gaps when switching presets as well. I don’t know what the actual length of the gap is with the POD Go, but it’s probably about the same as the Stomp or HX Effects.