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It's TS...2 conductor.

This is what I would do for my old Vetta II as well: HD500X-> 1/4" outs-> Vetta II FX Loop Return. It sounded pretty good. Curiously, the Vetta II is an amp you have to trick with a 1/4" dummy plug in the input if you aren't going to use it.

Historically, electric guitars have always been mono. Stereo guitars are a rarity, so it makes sense that the unit isn't stereo; it's way too small of portion of the market. Even a guitar with a piezo bridge + normal pickups isn't really stereo... just two outputs.

Somebody was goofing with the CSS, or just made a mistake in the CSS. I sent a note to the Webteam... seems to be fixed.

I’ve had good luck with a more “midrange†heavy sound on one side, and moe “full range†sound on the other. YMMV Another trick you can use to making your double-tracked guitars sound pretty huge is to take advantage of the Hass effect. Record a rhythm guitar track in stereo On playback delay one side (L or R) by a few milliseconds This will give your guitar track an expanded sense of width. There are a few plug-ins out there for few that will do this – I’m fond of this one: http://www.vescofx.com/vfxFreeHaas. However, keep the amount of delay short as it add comb filter effects if the stereo track is reduced to mono. As with most FX, subtle is better.

Hard to answer… but here is my 2-cents. Personally, I think the best sound when using a HD500X comes from a Full Range Flat Response (FRFR) rig. I was running my HD500X into my old Vetta II and it sounded OK. But once I went to a FRFR rig… the sound was SO much better. I’m not sure why Boogies in particular would have an issue with the HD500x… could just be “pilot error;†the HD500X does take some time to get right. If you are going to use a HD500X with the Mini Rectifier, I would highly recommend the four-cable method as it would give you the most flexibility in using the FX. Last thing to think about… If you are using headphones with the HD500X, the sound you hear isn’t going to be the same as when you are playing thru your rig. It may not be an issue for you, but just something to think about. Good luck with whatever you choose.

Not to hijack the thread... but here is a good audio example of an SM57 On and Off axis... https://youtu.be/MChYalokpdU?t=9m32s Curiously enough... I did this DVD years ago for Yamaha, and you can see/hear my old Line6 AX2 amp. The DVD is a bit dated.. but the concepts are still solid.

Here is what the Silent Guitar manual says about the reverbs: REV1................Adds reverb similar to what you would normally experience in a room. REV2................Adds reverb similar to what you would normally experience in a hall. Based on that, I would select the same on the POD. You might also want to try using one of the the Preamp+EQs (Vintage Pre for instance) in front of the reverb to boost the signal a little.

This isn't entirely true. Your monitors you have hooked to your DAW are going to sound different than the PA speakers where you are playing. So you will get in the "ballpark" designing/tweaking your tones via your DAW at home... but they won't sound the same when you play them live. Also the (ever popular) Fletcher-Munson curve kicks in when playing live.

The headphone out is TRS (TIP, RING, SLEEVE for those of you playing the home game) because it's a stereo output. The HiZ in on the 610 is mono... so you aren't really gaining anything there. I would still drop the TRS cable in favor of going balanced out of the POD into the LA610. That's going to get you the best signal all the way thru to your DAW. The LA610 is a pretty major Mic Pre with a nice LA2A style compressor to boot... you should feed it the best you can.

Public Address (PA). PA speakers are used to play music or speech to a large area - Club, Event Stadium, etc. However, the more accurate term (though not used as often) is Sound Reinforcement speakers. They can be powered or non-powered, and come in a variety of sizes. The big difference between PA(SR) speakers and powered monitors is PA(SR) speakers typically will be much higher in wattage they put out (or can take for non-powered versions), and their frequency response. Speakers (also called monitors) like the JBL LSR305 and Yamaha HS5 are meant for in-studio use, have less wattage, and typically will have a much better frequency response - sine they are used to "monitor" what you are recording.

Based on what you said here... I would NOT go for a combo amp. A good set of monitors is going to serve your purpose MUCH better. You will ultimately get a better sound from the POD, and the backing tracks. For your $350 budget, here are some recommendations*: JBL LSR305 http://www.sweetwater.com/store/detail/LSR305 Yamaha HS5 (just a bit out of your range) http://www.sweetwater.com/store/detail/HS5 *I have heard these speakers in action... so that why I recommend them.

I would drop the $100 to get a dedicated audio interface - like the Focusrite Scarlett or Presonus Audiobox. The LA610 MKII is going to give you the most sonic benefit by going balanced out thru it into your DAW: Instrument -->POD [bALANCED OUT]--> LA610 [MIC IN] --> Interface [LINE IN] --> DAW The XLR outs of the POD are MIC level (which I find a bit odd and would expect them to be LINE level), so you need to go MIC in on the LA610

The balanced XLRs are better for long cable runs and noise rejection, but the 1/4" unbalanced outs will work as well. In an "ideal situation," you would run the balanced outputs to the Front of House (FOH) mixer/PA and then use the unbalanced outs to run your 4x12 cab just as a monitor for onstage. That way you wouldn't need to mic your cab for the PA. But, this route takes a bit more time to get your tones right, and isn't always an option.

From the web... Line level refers to the level or strength of an audio signal - there are two main types of line level: Consumer line level is usually -10dBV (0.316 volts) and is what you will find in products like a CD player or hi-fi amplifier. Professional line level reference is +4 dBu (1.23 volts or higher) and is found on a mixing desk, wireless system and signal-processing equipment. More than likely, your power amp is “expecting†the +4 signal, so set your Pod Pro to LINE and use the balanced (XLR) outs to your amp. As far as the Studio mode Vs Combo/Stack mode… from the manual: Studio/Direct: Typically the best option when connecting “Direct†to a mixing console or recording device. This signal includes “Studio†Cab Models, Mic Model and an “AIR†convolution to best emulate a mic’ed amp within a room. Combo and Stack settings: Optimizes your tone for connecting to an external amplifier. The signal includes “Live†Cab Models, with no Mic Model or “AIR†convolution, with a special EQ curve added for each. I run a Full Range Frequency Response (FRFR) rig with my HD500X – I use two self-powered PA speakers – so I use the Studio/Direct setting. You didn’t say if you were using a PA speaker or not for your cab, so I’m assuming you mean something like a 4x12 cab. In that case, I would give the Stack Power Amp mode a try. Its sound is tailored a bit more for toward the rig you have. That being said, you can use either mode… it really depends on what sounds the best. Try them both and see what works best to your ear.

Yup.... Put Guitar amp on path A, Bass amp on Path B with either a Octaver or Whammy set to 1 octave below. Mix to taste.

I'm running the Alto TS110A FRFR (aka P.A) Speakers and have been very pleased with them. I haven't had a chance to officially gig with them, but they have been fantastic in rehearsal. Given that they are about $250/each.. they are quite the bargain, and do the job quite well IMHO. I've also good things about the Yamaha DXR series of FRFR/P.A. speakers, but that get's you into another price point - $600/each for the 10" version, $700/each for the 12".

More than you ever wanted to know about headphones: http://twit.tv/show/home-theater-geeks/243

Updated my HD500X.. no issues. Bought the full upgrade pack.... installed it without a hitch. I now have more amps/cabs than I know what to do with. A very pleased customer... thanks Line 6! PS: The "Jazz Rivet" sounds just like my JC120H and Cab I had in the late 80s... it brings back some fond memories.

After looking thru the manual... it looks like you can do it either way: You can use MIDI to turn on and off FX, the looper, tuner etc, and change patches from the HD500X buttons. or Use MIDI to change patches via a controller and use the buttons on the HD500X to turn on/off FX, Looper, etc. It also looks like Patch changes via MIDI are done thru fixed messages - From the Manual: Load Set List: From your MIDI controller device, send a Bank Change CC0 (Bank MSB), CC32 (LSB) message with a value of 0 (for Setlist 1), 1 (for Setlist 2), etc., followed by a Program Change message (Value 0-63 for Preset 01A - 16D) for the desired Preset within the Set List. The Set List and Preset are loaded on POD HD500X. Load a Preset within the current Set List: Send a Program Change message (Value 0-63 for Preset 01A - 16D) for the desired Preset within the current Set List

Just updated my HD500X, Firmware, Flash memory and the HD500X Edit app. So far.. all good. But I did notice one issue. When you are adjusting the Low Cut Cab DEP, you no longer see the Hz value of where you are setting the cut to. Can anyone else confirm this? Not a deal breaker for me - I do it by ear for the most part - but it was a nice feature to have.

As other have said.... 96kHz uses up much more disk space, and requires higher CPU speeds to deal with. Here are the basic storage needs for the major rates/bit depth (in mono, so double for stereo): 44.1kHz/16bit - 5.04MB/min 44.1kHz/24bit - 7.57MB/min 48kHz/16bit - 5.49MB/min 48kHz/24bit - 8.23MB/min 96kHz/16bit - 10.98MB/min 96kHz/24bit - 16.47MB/min 192kHz/16bit - 21.97MB/min 192kHz/24bit - 32.95MB/min That's being said, 44.1kHz/24-bit is a good trade off for size/quality/storage. Bit depth makes more of impact (IMHO) that sample rate. Think of an 8-bit PNG and 24-bit PNG file of the same image... which one looks better? YMMV.

As you've stated... Line 6 is dammed if they do and dammed if they don't... not a position I would want to be in. The truth of the matter is that for whatever reasons, those of us here have chosen to abandon the traditional guitar playing world (i.e.: analog guitar + analog amp (tube or SS) and decided to enter the mysterious world of 1's and 0s. And in this world, some things get updated while others don't. Some hardware is supported for many years and some.. only a few. It's they way things work and like it or not.. there is nothing we can do about it. So enjoy the ride while you can.. and try to spend as much time making great music with what you've got.

The Voodoo Labs Sparkle drive is a "tube screamer" style OD unit that has the ability to mix back in the "clean" signal back into the mix. If this is what you are after, then you could do this in a few different ways on the Pod. Split the path going to the amp (which should be fairly clean) and put an OD one path, and then mix to taste. You could also just do a two amp patch where one is clean(er) and one is heavy.

The XLR outputs are L-R, and MIC level (rather than LINE). The 1/4" outs are Mono Summed (L&R) each, or Stereo (L- R) if used together. They are also LINE level signals. Either set of outputs will work... it just depends on how you want to hook them up.