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Brazzy

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Posts posted by Brazzy

  1. Not yet, i have a support ticket in, if that doesn't get any action, i'll try calling. Good to hear they do give more authorizations thought, thanks for brightening my day!

     

    I was really worried about this kind of thing happening to me when I started using a UX2 and X3 Pro in 2008. I knew I was going to have issues with the OS software and all the other software out there is never guaranteed to be "bug free" at least as far as I knew so I was happy when they gave me more re-authorizations. 

    • Upvote 1
  2. On 1/22/2017 at 9:40 PM, richmaes said:

    Sorry for bringing up an old post, but I just ran into the Gear Box issue not quite working correctly.  Relative to this post from TheRealZap, you say, "there are just other programs."  What other programs are you talking about relative to X3 patch editing and X3 tone management?

     

    You can use Pod Farm for free > This should be the download link > http://line6.com/software/readeula.html?rid=3143

     

    You can use Pod Farm 2, I'm not sure if it's free though but you can try > this should be the download link > http://line6.com/software/readeula.html?rid=6479

     

    I'm using Pod Farm 2 but it came with a KB37 Studio when I bought it new. I'm pretty sure it worked with my X3 Pro too and I'm using Win 10.

     

    I have to add that it should be easier to just plug in your device USB, open Line 6 Monkey, let monkey update first and then check for updates for your device.

  3. Yes and Yes.  I have been running Studio/Direct too. Thanks for the replies.

    I also noticed the lack of volume control on the Spider.  I keep the Master down on the Pod when I am not using the Spider and make sure to power down the Spider first before anything else when I am done playing.

     

    Cool. When the spider is run like your running it it's volume is wide open. Turning the amp off first is my protocol. You should be able to pull the guitar cable out of the amps input without noise but if the cable is in the amps input and you pull the cable out of the guitar by mistake you'll scare the crap out of yourself, lol.

     

    I've got the spider jam and run into the aux input with a mixer where an hd500, x3 pro, and drummer pipe into. I always have the amps master wide open. After I turn the amp on I turn the master volume all the way up and before I turn it off I turn it down.

     

    It's been a while but I think when I used the spider III 75 I had and ran it like your doing when I got done playing I would just "quickly" unplug the cable from the amp, take a break and when I came back just "quickly" plug it back in. I didn't always turn the amp off unless I knew I was completely done using it.

  4. About balanced and unbalanced. http://www.aviom.com/blog/balanced-vs-unbalanced/

     

     

    What’s the Difference Between Balanced and Unbalanced?
    Aviom March 27, 2014 Audio Lab 26 Replies
    The cables used in an audio system—and how they’re put together—can have a major impact on the sound of the system. Every cable in an audio system has the potential to add noise and to compromise the sound quality of the components it connects, so it’s important to use the right cable for the right job. That starts with understanding the kinds of signals the cables are carrying.
    There are two main issues to consider here: the level of the signal and the signal type. We’ll set aside signal level for a future post and focus for now on whether the signals are balanced or unbalanced.
    Unbalanced Cables and Signals
    An unbalanced cable consists of two connectors with two conductors each, connected by two wires inside the cable—a signal wire and a ground wire.  You can quickly (in most cases) identify a cable designed to carry an unbalanced signal by its connectors: because each wire has to terminate at the connector with its own contact point, an unbalanced cable requires only two conductors at the connector. A standard TS (or “tip-sleeveâ€) guitar cable is the unbalanced cable you’ll run into on stage most. Standard RCA cables used for many AV components are also unbalanced cables.
    Inside the cable itself, the signal wire is typically in the center of the cable with the ground wire surrounding it. The ground wire serves two functions—it carries part of the audio signal and serves to shield the main signal wire to some degree from outside interference from noise such as the hum from lights and transformers, as well as RF (radio frequency) interference that comes from TV and radio transmissions. It does a decent job of rejecting noise, but unfortunately, the wire itself also acts like an antenna and picks up noise.

    Unbalanced wiring uses just two conductors and is susceptible to picking up noise.
    Unbalanced cables work great for connecting a guitar to an amp, for instance, but because they are not very good at suppressing noise from outside interference, unbalanced cables should have a maximum length of 15-20 feet (4-6 meters), especially when used in noisy environments and with signals that are low level to begin with, such as those from keyboards, guitars, MP3 devices and so on.
    Balanced Cables and Signals
    A balanced cable, by contrast, has three conductors in the connector and three wires in the cable: two signals wires plus a separate ground wire. As in the unbalanced cable, the ground wire still surrounds the signal wires and is used as a shield against interference. But what makes a balanced cable special is the way the gear utilizes that extra signal wire.

    A balanced XLR cable (above) showing its two signal wires and its ground (with a foil shield) compared with a typical 2-conductor TS guitar cable (below).
    Balanced signals are what is called differential. The two signal wires both carry a copy of the signal, but the two copies are sent with their polarity reversed. If you sum two signals that are identical but are reversed in polarity, the signals cancel out, leaving you with silence. (Just like adding positive and negative numbers: +15 added to -15 equals 0.)

    Adding a signal (LEFT) to an inverted copy of itself (RIGHT) results in a canceled signal, as positive peaks in the original signal correspond to an equally negative peak in the inverted signal (and vice versa).
    So why would you want audio gear that flips the polarity of your signal? In this case, because the receiving gear will flip the inverted signal back into its original orientation. But because both copies of the signal picked up the same noise as they traveled along the cable—and that noise is identical on the two wires in the cable—flipping the polarity of what arrives at the receiving gear will produce the original signal intact and noise which now has reversed polarity. Summing that gives you a welcome result: signal that’s preserved and noise that’s canceled.

    Balanced wiring uses two signal conductors plus a ground, allowing noise picked up along the way to be canceled through polarity inversion.
    Because of this, balanced cables can support much longer cable runs; 50 to 100 feet (15-30 meters) is not uncommon, though even shorter runs will often use balanced wiring to protect against noise. The wiring for microphones, and the interconnect cables between consoles, signal processors, and amps, etc.,  in a pro sound system or recording studio environment are typically of the balanced variety. Standard connectors designed for use with balanced signals are XLR and TRS (or “tip-ring-sleeveâ€).
    Use the Right Cable for the Right Signal
    It’s important to note that using a balanced cable on an unbalanced signal gives you no benefits. The jacks on the gear on both ends of the cable must be designed for balanced signals as well; otherwise there’s no circuitry to do the polarity inversion that produces the noise cancellation. On the flip side, however, using an unbalanced cable with gear that expects balanced signals will “work†(in the sense that audio will go from point A to point B), but the signal will be unbalanced and susceptible to the same noise as any unbalanced signals. Check the documentation of your gear (or the labels on the gear itself, near the jacks) to determine what type of signal a given jack is designed to support, if you’re not certain.

    The output jacks on this console all output a balanced signal, even though they use two different types of connectors.
    So what do you do when you need to go a longer distance with an unbalanced signal? In some cases, a wireless rig is a great (though potentially pricey) option. The other option is a direct (or “DIâ€) box. Learn more about direct boxes in this post.

     

  5. Yep, It might be the switch. It feels fine. It's both a momentary and an on/off. It's just how you use it. The on/off is the hard push with a click. The momentary is a light push. The hard push is suppose to turn the effect on and off. The momentary light push is suppose to switch between slow and fast rotating of the leslie effect. Well, the only way to get signal at all is to lightly push down on the switch and keep it there. Lifting up cuts the signal.

     

    Well, I had hoped some pro tech person from line 6 would have chimed in by now. Evidently, they don't have time for problems in the forum. Thanks for your input Brazzy. At least I wasn't talking to a wall. Hope you have a great New Year.

     

    Rob

     

    Oh that's right. I forgot it can be momentary or on/off depending on the pressure used. I think if you tap the pedal lightly it changes the tempo. It's been a while since I used mine so I think I'll set them up again soon.

     

    Your welcome, I don't mind helping someone when I can. I certainly am not an expert but sometimes I help myself when I try to help someone else. :)

     

    Happy New Year to you too.

     

    Ron

  6. Hey Brazzy, You know I gave it the tongue test and thought I felt enough of a shock but I might be more sensitive at 64. I think you might have something there. I will change the battery any way or find a power supply. I'll keep you posted. Thanks. 

     

     

    So, I got a brand new energiser battery and now it's behaving differently. When pressed all the way down (click) It is dead. If pressed half way (without click) it works, but you have to hold it there. The controls work as long as pressure is on the switch. Push it too far (click) and it's off, as in no signal and no amber light. It sounds great when it's working. But it needs to be working properly or it's of no use.

     

    Just trying to help. I had the battery issue once not long ago so it was still fresh in my head. I know the feel of the switch is funky compared to just a button so I'm not sure what to say except maybe try not to stomp on it too hard when switching. Maybe the switch isn't right somehow.

     

    I have a mono pedal body and a stereo body TonCore pedal and 4 modules. The chorus, the otto, the compressor and the uber metal so far they still work but like I mentioned the switch part is so smooth it's hard to feel the switch actually work like a regular footswitch if you know what I mean, lol. The little 9v batteries don't last very long either so I use a 10 Ah 9 volt DC power pack I made out of 8 rechargeable D batteries which really works great.

  7. Thanks Brazzy, I actually did open it (four screws on the bottom), pulled the board and spray cleaned the only contact pin socket. No difference. Usually a few ins and outs will clean the 1/4" contacts enough to get a signal. Did it all. 

     

    I noticed there is a pattern to the LED blinking. It blinks four times then is off for the same amount of time. Like: blink,blink,blink,blink, off,off,off,off and so on. Maybe that's a distress signal. Anyway it's always red. Hopefully, Someone else can chime in here, but thanks for your thoughts.

     

    Ok. I just looked at the manual and it says the red light flashing means low battery. Maybe you battery isn't good enough. Do you have a power supply? You should try another power source of you can. Unless you already did.

     

    The manual I looked at > http://line6.com/data/6/0a060b316ac34f0594333c800/application/pdf/ToneCore%20-%20RotoMachine%20-%20Dutch%20(%20Rev%20B%20).pdf

     

     

     

     

    post-727441-0-67799600-1483495101_thumb.jpg

  8. A similar question was asked in another thread and the answer was to hold the TUNER button while turning on the amp. Doing so puts the amp in preamp-bypass mode which means the preset volume, bass, mid, presence, reverb and treble controls are bypassed. That's how you get a pure amp with no coloring, hence letting all your 500X presets do their magic. Works great for me.

    This is what I was thinking. The earlier spiders had the same or similar function.

  9. Hi, I have the same problem, I have sd card 4GB and 16GB, both are formatted via pc to fat32. I would also be happy help. It says in the manual that it is best to use 1GB or 2GB. Are my too large?

     

    Hi, you need to use a 1 or 2 gb sd. To format insert the card. Either with the amp on or off then press setting buttom till you see settings. I think pressing it twice will get you there. Then scroll all the way down. You should see the format near the bottom.

     

    Hope this helps.

  10. Do you know how I can turn the boost on/off via MIDI commands from my 500X?

    You can use the midi part of the hd500 to assign a switch to toggle it. I would have to look it up in the DT midi implementation guide cause I don't know it off hand. You could read the specific parts of the HD500 manual and find the info but you'll to look at both manuals.

  11. I use the DT Edit software from this guy (https://github.com/rome2/dtedit). But I can't save anything, so, I haven't figured out how to make this useful, yet. I'm in touch with a DT expert at Line 6, just awaiting his input and I'll post back.

    Sounds good. You can use DT edit to choose amps and cabs for the 4 different ttopoology switches on each channel so you can have 8 different amps, 4 on each channel.

     

    Once you set the 4 topologies up they are saved automatically.

     

    Of course there are other settings. The volumes, tone stack, master volume and reverb levels are not saved.

  12. Just got my 240. Tweak the additional EQ. It helps having that on. Another thing is look at those amp model volume levels. Many of them are way down. When you use a real amp like Plexi's JMP and others, the real sweetness comes with that amp volume up. Balance the rest out to match your presets. Some models will need a higher volume in the amp model than others. The amp itself has plenty of headroom.

     

    I think the closed back is fine

     

    Now that's experience talkin'.

  13. A recent development. I have determined that my HD500X Pod is picking up local radio signals. It is not my guitar, my other pedals or my amp. Any suggestions?

     

    You could try lining a cardboard box, big enough to fit the pod in, with tin foil and put that box on top of it to see if shielding it like that works.

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