jws1982

Yes, the midi value assigned to patch control is the same on each device.

I meant the HD500/DT50. Having a Global EQ on the HD500, separate from all the patches, would let you make quick adjustments for whatever venue you're at. Right now, if you use an HD500/DT50 combo, you'd have to use the FX loop with an external EQ pedal in it at the end of every patch. There's a place I play occasionally where my DT25 ends up in the corner of the stage. Proximity effect increases the bass response too much in that location. When I play there, it'd be nice to have a master EQ on my HD500 to dial the low end back a little without having to adjust any patches.

Now those are two good ideas. 1 - just send the head portion of the combo. 2 - let the shipping company handle the packaging, so they're on the hook no-questions-asked when it gets damaged.

I was the one who said i set up patches through the in-ears. I do that because we control our own in-ear mix on stage. It never changes, where as the FOH does. The in-ears I use don't change either. I know my in-ears like I do my studio monitors, so I can mix and set up sounds pretty well. It's not like I don't check them out through a PA sometimes though. I still have to make sure they transition to other sources well. So, the FOH sound guys at each venue always get the same signals from everyone in the band, save for the drummer (everything's digital except for drums). Then, they can mix it according to their specific venue.

This makes me think of a feature the Vetta amps had, which would be pretty useful on the dream rig. The vetta had a master treble/bass section, which you could use to adjust for room changes and fletcher-munson curves.

If I was doing a stereo guitar tone, I would do it one of two ways. ...and yes, I would pan hard L and R. The sound guy can handle any further panning if needed. 1. like joel_brown said, use one amp, then add super-quick delay on one side to double the sound up. 2. have two separate amps that are somewhat similar. One going to L, one to R. Maybe again use a delay to barely offset one side. The key to a "wall" of guitar sound is more in the tiny differences in playing, rather than the difference in sound. With one guitar player, that can be harder to do. I wouldn't use two distinctly different amps to complement each other like you would with a regular mono dual-tone setup. Rather, I would make the L and R sounds similar, but do something to simulate a difference in playing, such as adding a tiny delay.

napynap's right. Sounds like you'd be a good candidate for an M13 effects board.

Changing the tubes on a SV will change the tone, as it will on any tube amp. However, the tube amp in the SV series is intended to be pretty transparent. The SV series uses full amp and cab models, meaning that the pre-amp, power-amp, and cabinet is fully modeled. The tube amp is just coloring the tone on top of that. It may not have as drastic of an effect as changing the tubes on a regular tube amp. For example, the 12ax7's in a regular guitar tube amp are fully involved in creating the unique sound, whereas the 12ax7's in the SV are there simply to boost the final fully-modeled signal before it hits the power amp tubes. So, changing the pre-amp tubes on the SV may not have the same amount of effect as it would on a regular tube amp. When I got my SV, I put in a pair of matched JJ 12ax7's. They were a bit darker, and had just a bit more break-up at volume. I set up all my patches using those, and it sounded great. So, when the time came to change 'em out, I just stuck with another pair of matched JJ's because I didn't want to adjust all my patches. Same for the 6L6's. I used the stock ones, and replaced them with the same.

You can't. It's hard-set. You can adjust it on the MKii version.

Playing live, I pretty much disable cab emulation, and use only pre-amp models. It's much more pure that way. The DT25 has a great power amp, cab, and speaker. I don't need redundant software emulations of each of those. Plus, the cab emulations are basically just EQ's with some extra features, which can't take into account the speakers or cabinet you're currently using. I like to let the cabinet and speakers handle the job, like with a regular tube amp. If I want a large 4x12 sound on stage, I'd rather use a 4x12 then try to EQ a 1x12. The cabinet models and power-amp models only work for me when I'm running straight to a PA. Just my preference. And yes, the DT25/50 will behave like any other tube amp at different volumes. That's one thing I love about the POD HD500 / DT25 setup. I can use Line6's excellent pre-amp models and effects, but I get genuine tube amp overdrive and cabinet/speaker interaction. You have to set up your patches at full volume when doing it this way, but it's worth it.

What silverhead said. Plus, the effects in the device are designed more for guitar processing. If you need vocal effects on-stage, then a separate vocal processor works better. That way, you have vocal-specific effects, don't use precious CPU power and effects slots on your POD, and don't have to duplicate your vocal setup on lots of patches. Oh, also, when changing patches on the POD, even with your vocal setup duplicated, sometimes there's a quick cut-out in the vocals during the patch change.

Could be an intermittent internal power issue for those output ports, or could be an issue with part of the CPU. I bet that when you take it in for service, you won't be able to get it to duplicate the issue. :)

yeah, if I ever use my POD live with a microphone, it's always just for certain effects, and on a separate mic from my main one. It's nice to have a mic interface on the POD, but I wouldn't recommend using it in your main vocal line live.

This is always a good idea, if you don't mind carrying the extra weight. A power conditioner/battery backup is great protection for your amp and any other digital gear. Also, it'll keep your amp from resetting mid-set if the power drops or spikes. You never know what you're gonna get when it comes to stage power at different venues. Bringing your own protection can save quite a bit of money in repair.

They'll fix that button under warranty. I'd recommend reloading the firmware once though, just to make sure you can't fix it yourself. If you do warranty repair, you'll be without your POD for a little while.

So you're having the problem with both the XLR and 1/4" outs? It's probably a physical problem inside the unit. You've covered all the other regular bases of firmware updates, bad cables, etc.... Next step would be to get some warranty repair.

Buckethead55, if you connect the POD to an amp, I would suggest never plugging into the front of it unless you have to. Get a tube amp with a power amp in, or an FX return jack. Or, just get a DT25/DT50. I've tried the POD HD500 with a handful of different tube amps, and the DT series got the job done best as far as covering every type of guitar tone.

Cool, that's a good workaround. I wish it didn't have to use EXP1 or EXP2 though, because I'm using those for volume/wah/pitch. I'd like to have the firmware let me assign it to FSx instead. I always have a free FS switch or two, but never have a free EXP.

If you have a Pod HD400, I believe you could set the output switch on the back to 'Dual', where left has the speaker/mic and right has the direct sound. Then, you could blend them using a separate small mixer. On the HD500, you'd have to run two separate amps. That's one place where the HD400 potentially has an advantage. You may not be able to do this on a 500 while still getting all the effects you want, whereas you may be able to on the 400.

I mainly use the Pod HD500 with a DT25 just because of this.

I'd love to see amp/effect parameter controls assignable to footswitches rather than just pedals and knobs. For example, having the gain control of the amp go from 30% to 100% by pressing FS4.

No pre-amp, just some compression, EQ, and other effects to taste. For example, sometimes the pitch bender set up one octave can do an acceptable 12-string emulation. ..Sometimes it sounds terrible though, because it can't get the notes right. Have to pick and choose. I usually end up using an EQ to drop the 250Hz area around 2-3 dB, add a little compression, and that's all.

In best practice, a person should create their tones on the same equipment they use to monitor it live. Since the 'feel' will change when pretty much any part of the system is changed, it's critical to keep the same setup from creation to use. Let the front-of-house guys run it however they want (just like a mic'ed cabinet). I play with a group sometimes that uses in-ear monitors. So, all my patches for that group are made using my in-ears. That way, they always sound the same to me, but the FOH mixer can tweak them to his liking. Otherwise, I use a DT25 with my POD HD500. IMO, the feel of having a tube amp (or super-powerful solid state amp) behind you is somewhat irreplaceable when playing live. When I'm not using my in-ears, having my guitar sound just pumped through a house wedge doesn't cut it. The DT25 gives me better feel and consistency in those situations.