spaceatl

Contrary to some popular myths, speakers do not "draw" current from an amplifier. It's an old rig mod using high rated speakers. Carlos Santana is the most notable that comes to my mind putting JBLs into Boogies...later using EV12Ls...Those are 200 watt PA drivers basically. PA drivers generally have less of a boost around 3K and have a much lower resonant frequency. Stack Power Amp Mode is one of the Output modes...I tend to prefer Combo Power Amp with the Flexy. If by saggy, you actually mean the far superior description of the "farty" nature of Sevety80s in a Flextone III XL open back combo, I agree....IMO, this issue is caused by the Seventy80s higher resonant frequency of 85 Hz....That's something sharper than a low E and flatter than a low F and in the bandwidth response of the driver..When the resonant frequency of the driver in the bandwidth response range, it generally turns to mud and is clue on the speaker having a lot of character (not flat)...In a closed back cabinet, this is much less apparent. "Flatter" response speakers will ALWAYS have a resonant frequency that is below the bandwidth response. This is what you look for when you want clean low end and a clean speaker in general...This helps open back cabs in a big way. These sorts of speakers are nearly always PA type, meaning higher power rating and flatter response. It takes a lot of power to put those cones into breakup...Seventy80 is a great speaker for a 412 cab...not so much in an open back.

That's the secondary tube protection fuse I think. You probably have a blown power tube...Keep doing that and you might burn up the grid resistors...My SV MK2 took out that fuse when it blew a power tube...Took me a while to find it as that one isn't documented...There is another fuse for the heaters, but I think that one is higher value...same difference...likely bad tubes...and maybe bad grid resistors too if you did that too many times...

right, playback and overdub....sorry, I got interrupted in my post... Just a note, if you have dual tone patches that are stereo and you try using the looper post something like this can happen. The reason is because the looper is mono and the recordings are summed. My guess is you might be using a stereo patch and have phase cancellation due to the looper being mono. This will reduce the volume...Most noticeably, the tone will be come very thin sounding because the low end will cancel more precisely. When you say "very loud by compare"...That can mean a lot of things to a lot of people. I have stereo patches that sum fairly well and my path is pretty hot and my playover patches are around +3db louder than playback...But most of that is an ambient difference between the mono looper and the live stereo patch...It's mostly a perceived volume difference IMO...

Coolio, glad that that helped...That "Ah-ha" moment is pretty cool when those deeper tweaks start paying off. That Master DEP is one of the Achilles heals of the HD PODs in that the master defaults seem to be just a wee bit too much in a lot of cases....There is a lot of power in the DEPs to get the amp model focused in on operating behavior you are looking for in a tone...The other cab DEP is the RES LVL. Basically, sort of a modeled break-up parameter is how I think of it...Seems like the cabs nearly always sound better with that one at 0% or at a lower than default level depending on what the tone target/cab/mic etc....All that stuff is so interactive that it is pretty easy to get into a mess. On the old XT hardware, I was basically stuck to using the SM57 off-axis mic model for just about everything. It really was the best mic in the bunch for me at that time. With the HD, the 409 basically took it's place. I probably use that mic on 80% of my patches. I really don't like the off-axis 57 in HD all that much...I guess it might have just been the lack of the 409 that I was missing. lol!

put the cursor on the looper and turn the volume all the way up.

If you want the best modeled tone/FX you can get from Line 6, get a Helix. It's simply a better box all the way around for doing 4CM with an amp. Higher resolution modeling, better conversion, better buffers and control relays...just my take...

The cab models also change with the PRE models. Think of it as a Live model. The attenuation is a bit lighter and intended for the DT amplifiers. Basically, you lose the mic parameters because the mic model gets applied to the direct out in DT amp....Really great sounding direct out IMO. A bit better than the HD alone IMO due to feed from the tube power amp. (Unless you are in LVM mode)...I think what happens is that some of the mic models emphasize the RES of the cab more than other mics when using the FULL versions...However, it is still there a bit on the Live cabs...After all, the mic that shot the cab IR is always there...just a different way to think about this stuff.

Actually RES LVL Remains on PRE models. AMP DEPs are most of what goes away. I have had my POD and DT amps since before the came out, but what do I know?

I suppose partially sometimes I feel that way....To get just about everything the POD does, I have to add in my rack FX from my old ADA-MP1 rig....While those FX are true because they are the real deal...They always sound better...My SPX-990 has better reverbs, but it's harmonizer does not track as well...My Effection 1024s are fantastic delays... I often rehearse with the POD alone as it's convenient and I can get it done. However, I have a BCB board full of old BOSS pedals. I sometimes run an amp or two with only that board and no POD at all...Sometimes I make the mega rig and have all of it going. Just depends...The Strymon OB.1 optical compressor is unlike any compressor in the POD....It have a voiced clean boost on this...My DS-1 is modified and is a better sounding Tube Screamer than the models in the POD IMO, but I can get by with them fine...The DSP savings is kinda nice for of the complex patches. But I don't really need that in my current situation and frame of mind... There's no absolution to this...I am just an old guitar player that has a bunch of gear...We all go through phases with our rigs...Use what you feel like works...However, remember the tone chase never ends... ;) It just stops for a break here and there.

I have a Strymon OB.1, BOSS DS-1 (modified TS), BOSS FZ-5 and BOSS LMB-3 (Limiter)...I have used them all with HD POD...Not in the loop, I just put them in line to the guitar input...leave the loop for post pedals like delays, etc....

Do you have the PAD engaged in the HD for your EMG guitar? You might be running input really hot...EMGs can have white noise on sensitive inputs. Not saying this is it...just thinking out loud...

Put the cab RES parameter to 0% and see if that helps.

It is definitely easier to spin up great tone on the amp alone....It works like any tube amp does...dead simple...HD is a little deeper. Topology Class swings from A<->AB are not seamless at low volume. The reason for this is how those classes work. A class A amplifier has no master volume and is running a full tilt, AB has different operating levels. Not a great idea to change class in the middle of a song when you need seamless transition with the amp running at low volume. It can pop a bit. In terms of noise, mine had white noise until I changed the 12AX7s in the DT50...DT25 is better on noise as it has a solid-state buffer to drive the inverter tube...DT50 has a tube buffer driving the inverter tube...always a little noisier...just need good tubes and the stock EH tubes completely suck....The power tubes are good though. I think there was a batch of noisey EH 12AX7s when the DT50 came out as it seemed a few folks found the same thing.

I completely understand where you are coming from on the quick EQ on the HD100 and why you are running through the front. I have worked with the XT, SV, HD models for a very long time. HD was the first generation Line 6 released where I was able to get a satisfactory FRFR tone (direct without a tube amp or tube buffer in the path). I have some experience with the Helix models and to my ears they are higher resolution than the HD models. The models in the SV are basically PRE models and I think that is the real trick to it. That is how I run generally as I often use my HD POD with my SVs and it is PRE models 90% of the time. There are some low gain amps that sound better using the FULL version, but generally I start with the PRE models. I think it's nearly the same with the Helix as HD....It took me a bit to adjust from the XT/SV generation of modeling with HD came out. The resolution is much higher and it is different on a sublime level. Now that I am used to it, I hardly ever use the XT or SV modeling. Always HD....And I am really wanting to move to Helix. When I spoke of a ground LIFT on your new wire, what I mean is that you could install a SPST switch on the negative wire to see if that kills the hum...Is your wire twisted? Shielding does almost nothing inside the chassis as shields only protect from electrostatic noise...You need tight twisted pair with an even number of twists to cancel electromagnetic noise.

I have used my old ADA MP-1 with the DTs (I have a 25 and a 50 112s)....These amps are fantastic...I was seriously on the road to betting a Mark V because I wanted Class switching. I have played alongside Mark IVs and Vs with friends that have been blown away that my tone cost so much less. I think the DT50 sounds a bit better than the 25. But it has more to do with the increased headroom of the amp and the tube. I much prefer EL34s over EL84s. The DT50 also has a return level control that the DT25 does not have. It's basically a second analog master volume when the return is used.

You can NOT have pre amp post separation in terms of going to the DT and back to the HD...Link is one way....The Amp model you use is in the POD when on the link, when you bypass the amp model, the DT changes to channel B and everything coming from the HD is PRE. You idea is interesting...basically clone your patches on two HDs and use one DRY and one for FXs...There are signal advantages to doing that as bypassed blocks of some FX models affect the tone. If you choose one HD to be your master, I would think you could just use midi to slave the other HD...

That is most curious. Usually this can mean the preamp in the Boogie might not be biased right or something is going one there. Usually, putting an active buffer between your guitar and amp will solve this. But you have the problem with the active buffer in line....This can be indicative of a cable problem some place where you have ground leakage in to places that loop back...Does it do it with other guitars also? Try different cables and different guitars if you can...

Ok, I have to ask...If you have a Helix, why would you even bother running through the SV modeling?...just curious...If it were me, I would just run helix into the power amp in and be done. That extra wire in there is an antenna that can pickup electromagnetic noise...You could put a lift switch on the negative as you might be getting a loop there. Greetings for USA! What part of Austria? I spent a good bit of time in Vienna and Salzburg back in the 90s...

If you have the model packs, I love the Soldanos, 5150 and JC120...The Ampeg SVT is pretty darn nice to have too.... Oh yes...and beware of InputZ on your input settings...If you have that set to AUTO, you can get some tonesucking going on depending on what you have first in the chain....If you are not aware of it, AUTO is the default setting and I have seen it drive folks crazy when they did not know about it. The Weeper (wah) is a pretty good example of what is happening here...basically, it will drop the input impedance on the guitar input to 300 ohms and the highend drops...However, you can tweak the InputZ per patch and use it to get you highend in the ballpark before eqing the amp tonestack. I generally leave most patches at 1M or 3M...but I have got patch for my strat where I run the impedance down to tame the brightness a bit...

Yes, you have the wiring correct and you can program patches to do what you describe. There is nothing automatic about 4CM. You have to put an FX Loop block in your chain and you program a FS (footswitch) to toggle the loop on (your amp pre) and the amp model off (make sure to tweak the bypass volume if you are on the same chain)....you can to do a bit of work to get your bypass level to matchup where you need it. You can use pedals np...depends on how you want to do it....If you want to switch from your pedal rig to a modeled rig, you just stick your pedal on the loop... POD Send->WAH->Screamer->amp input Amp Send->Delay->Flange->Verb If you haven't read the advanced manual, you might want to do that as there are lot of little things to tweak. You can even set it up using a dual tone patch and put your amp on one chain and models on the other and put a balance pedal on it and crossfade. All of this is advanced stuff. Lots of things you can do, just none of it is automatic...you gotta program it...might be some 4CM patches on custom tone you could download to checkout routing, FS and expression programming.

The Park is one of my favorite models because I find it to be quite true to the orignal in terms of the gain potential. It's much like an old plexi in that they are not high gain amplifiers. The killer overdrive you get from a Park or Plexi comes from cranking the power section and/or putting a clean screamer on the front. Your conclusion that the FULL Park model works a little better is the same I drew. The Park PRE can also be driven quite nicely with a screamer. Hit the PRE model with a lot of clean level. No right or wrong here. The SV power section is very clean and a bit harder to breakup without killing your ears or an attenuator. BTW, if you want to hear just how wonderfully clean, precise and dynamic that SV power section is, I would suggest try plugging your guitar directly into the power amp in on the back. The power amp has a 12AX7 buffer tube that drives the 12AX7 inverter, so it is basically a preamp with no tonestack...it is mind blowing how good that sounds...

I am less familiar with the head. However, I did the SV Pre mod on my SV 112 that replaced the input board. hmmmm....Here's a thought. Kind of a pain in the a$$, so I am sorry for that...Another approach could be to get a solder sucker and remove the jack from the PCB. That may help you find exactly which pins you need as it can be hard to meter when components are on the board. I think you will need to solder to three pins as you will need to get the tip (+) , ring (-) and sleeve (-). They might have a trace between them already or you could do a jump wire.

Are you talking about the DEP Master? That isn't a volume control. That models how hard the power amp (Master) section is getting hit. The JCM800 demostrates what it does pretty good. Rather than hear volume increase, what happen is you get more power section saturation. On the JCM800 model it sound like total crap when the master is cranked....Some call it fizz, others will be frustrated that they just can't get the tone focused enough. The two best DEP controls for getting out fizz are the Master and the RES cab parameter...RES is at 0% on nearly all of my patches...Master varies a bit model to model...On some models, more master helps...on others it detracts...However, it is a fairly subtle thing as it is not a volume control. Here's the bit from the manual. Amp Edit - Page 2 Page 2 offers three options that affect the power amp characteristics of your Amp Model. • Knob 1: Use this Master Volume to adjust the amount of power amp distortion. This parameter is highly interactive with all other power amp parameters - the lower the Master is set, the less effect the other controls will have. • Knob 2: Setting the Sag to minimum offers a “tighter†responsiveness, and turning clockwise provides more “touch†dynamics & sustain. • Knob 3: Controls how much heater hum & AC ripple interacts with your tone. At the maximum setting things get really freaky.

for the SV, I use the PRE models with cabs. However, this loads a lighter version of the cab models with less attenuation than the full models have. Running any combo or stack mode kills the mic model. I only use a few cab models as I am not one of those "simulation nerds"...Not a bad thing...just not my cup of tea...We called them Live cabs at one time, but basically these are tuned for the DT50....The ones I use work great with the SV and the cab setup I have...

no sir, I run combo stack. However, my 112 is modified a bit and supports a 212 cab. I have an NL4 mounted on the back to run a 212 cab...All speakers are 8 ohms in parallel for around a 2.6 ohm load. Next to the NL4, I have a 100 watt rated matching transformer that doubles the impedance with no loss. So the amp is seeing around a 5.2 ohm load....I run on the 4 ohm tap. The speakers are Madison Minstrels. What I found is that the 312 pyramid with an open back combo and closed back 212 renders the live cab models quite well for me. I also have an SVMK2 112 with a 212 cab also....However, it is loaded with 16 ohm Madison Symphony speakers....The load is the same...It's pretty brutal when I run both rigs stereo...