spaceatl

Well, the Park model is one of the best models in the HD collection IMHO...That model is a 10 and one of my favorite Marshall amps. I was on track to get a Boogie Mark V and the DT50 kept me from doing that. What I really like about the DT amps is that they are fantastic by themselves without a POD. Sometimes, I just take by old Boss pedals and a DT or both of them....You can spin up tones on a DT as quick as you can on any conventional amp...The power amp modes might take you a few minutes to get under what they are doing. Easy to use as a standalone amp... With a POD, things can get a little tweaky...It can take time to get what you want and it's not for everyone. I have really enjoyed by HD and my DT amps...

For reamping with the HD, I use my own ancient interface (EMU 1820) to record dry (spdif) and wet (stereo LR outs) at the same time....I think my converters are a bit better than the POD HD even all these years later...loL!

Is this an old red faced Spider 1st Edition? The Spider i's and ii's did not have MP3/CD jacks as I recall...And I am not sure the original red spider had the power up trick either...However, if you use that trick you have to make sure the device feeding it is using Line Level....It might be that if you tried it and your HD500 was in AMP mode that the level would have been so low that you might not have heard anything if the power mode was actually working...

Android Beer - Droid beer lets itself out of the fridge, opens itself and then explodes.

Now is the perfect time for an oldie: If Operating Systems Were Beers... DOS Beer: Requires you to use your own can opener, and requires you to read the directions carefully before opening the can. Originally only came in an 8-oz. can, but now comes in a 16-oz. can. However, the can is divided into 8 compartments of 2 oz. each, which have to be accessed separately. Soon to be discontinued, although a lot of people are going to keep drinking it after it's no longer available. Mac Beer: At first, came only a 16-oz. can, but now comes in a 32-oz. can. Considered by many to be a "light" beer. All the cans look identical. When you take one from the fridge, it opens itself. The ingredients list is not on the can. If you call to ask about the ingredients, you are told that "you don't need to know." A notice on the side reminds you to drag your empties to the trashcan. Windows 3.1 Beer: The world's most popular. Comes in a 16-oz. can that looks a lot like Mac Beer's. Requires that you already own a DOS Beer. Claims that it allows you to drink several DOS Beers simultaneously, but in reality you can only drink a few of them, very slowly, especially slowly if you are drinking the Windows Beer at the same time. Sometimes, for apparently no reason, a can of Windows Beer will explode when you open it. OS/2 Beer: Comes in a 32-oz can. Does allow you to drink several DOS Beers simultaneously. Allows you to drink Windows 3.1 Beer simultaneously too, but somewhat slower. Advertises that its cans won't explode when you open them, even if you shake them up. You never really see anyone drinking OS/2 Beer, but the manufacturer (International Beer Manufacturing) claims that 9 million six-packs have been sold. Windows 95 Beer: A lot of people have taste-tested it and claim it's wonderful. Others say its flat. The can looks a lot like Mac Beer's can, but tastes more like Windows 3.1 Beer. It comes in 32-oz. cans, but when you look inside, the cans only have 16 oz. of beer in them. Most people will probably keep drinking Windows 3.1 Beer until their friends try Windows 95 Beer and say they like it. The ingredients list, when you look at the small print, has some of the same ingredients that come in DOS beer, even though the manufacturer claims that this is an entirely new brew. Windows NT Beer: Comes in 32-oz. cans, but you can only buy it by the truckload. This causes most people to have to go out and buy bigger refrigerators. The can looks just like Windows 3.1 Beer's, but the company promises to change the can to look just like Windows 95 Beer's - after Windows 95 beer starts shipping. Touted as an "industrial strength" beer, and suggested only for use in bars. Unix Beer: Comes in several different brands, in cans ranging from 8 oz. to 64 oz. Drinkers of Unix Beer display fierce brand loyalty, even though they claim that all the different brands taste almost identical. Sometimes the pop-tops break off when you try to open them, so you have to have your own can opener around for those occasions, in which case you either need a complete set of instructions, or a friend who has been drinking Unix Beer for several years. AmigaDOS Beer: The company has gone out of business, but their recipe has been picked up by some weird German company, so now this beer will be an import. This beer never really sold very well because the original manufacturer didn't understand marketing. Like Unix Beer, AmigaDOS Beer fans are an extremely loyal and loud group. It originally came in a 16-oz. can, but now comes in 32-oz. cans too. When this can was originally introduced, it appeared flashy and colorful, but the design hasn't changed much over the years, so it appears dated now. Critics of this beer claim that it is only meant for watching TV anyway. VMS Beer: Requires minimal user interaction, except for popping the top and sipping. However cans have been known on occasion to explode, or contain extremely un-beer-like contents. Best drunk in high pressure development environments. When you call the manufacturer for the list of ingredients, you're told that is proprietary and referred to an unknown listing in the manuals published by the FDA. Rumors are that this was once listed in the Physicians' Desk Reference as a tranquilizer, but no one can claim to have actually seen it.

Let me know when UAD writes a Linux driver for their VST hardware so UAD VSTs can be used in Linux...When I see that, I will take Linux seriously for DAW.

I fried my monitor because I set the refresh rate to high...I am not sure one could do that anymore....maybe so.

It was too many years ago on the Switchblade. And it wasn't a switchblade....Sorry, it was an Access rig. That was around 1993-94 and Line 6 did not even exist yet....It was a very cool sounding preamp at the time. It was bascially the same thing as the ADA MP-1, only this one took two rack spaces and cost a good bit more as I remember. I have not heard the combo you speak of. All I can say is that I have used H&K in the past and it is great gear. The DT has a tube power section. The preamp is digital. I have played the DT next to Marshalls, Boogies, Fenders and about anything else you can think of. It holds its own just fine. Like I said, saved me from getting a Mark V....Switching between class A and AB was my main interest there...

Yes, we have all heard how Linux is going to save the world...oh and faster and all of that.

I am going on memory as I had a switchblade preamp many years ago. It was a programable analog tube pre sorta like an ADA on steroids. All I can say is H&K stuff does sound great. However, I think the DT amplifiers are quite unique on their own. I love them...The DT-50 stopped me from getting a Mark V....Basically, I can't justify the cost and I have played side by side with Mark IVs and Vs and the DT amps can hold their own with anything IMO.... I have the DT50 and the DT25...If you are coming from a 50 watt tube amp, I would suggest you stay in that power range....The DT25 is a great sounding amp, but can lack headroom for clean tones because it just doesn't have that much clean power...If you want dynamic like an AC30 or a Twin, the DT25 is going to struggle a little in louder situations...In live situations, I always take the DT50 over the DT25 because of the headroom...Tonally, they are pretty much the same...power amp vibe is little different.

The model controls change a bit depending on the model....Especially the Fenders....If you are using a fender model, dime the channel volume and use the drive to set the level....not sure if that is your issue or not....Make sure you are not in LVM Mode (Master pulled out)...

Not sure why I thought OP was only looking for model pack amps....I must be on acid. :blink:

They are listed in the store on each pack... http://store.line6.com/hd-metal-pack.html http://store.line6.com/hd-vintage-pack.html http://store.line6.com/hd-bass-pack.html

active pickups w/ 7 string....lots of level with that one likely...Make sure the input pad switch is engaged. running a modeler into a modeler....Well that's going to be a bit of a challenge. If you really want to hear the POD, you are going to have to figure out how to get the VIP as transparent as possible. It might be that the VIP has a bypass mode where the input can be passed to the power amp without the VIP modeling....The old Line 6 Spider 2, 3, 4 amps had that, but it required powering up the amp holding down the tap button and if the amp ever cycled power the modeler would come back on...not so practical. If you want pure POD, you have to get the modeling bypassed in your amp, or at least get something really clean and flat to start with...Otherwise, you really are not going to know what you are hearing...definitely need instrument level to hit the input...I would start with Studio Direct Mode and set the CAB to NONE on the amps I try to use as since you are using a guitar amp, you might not need a CAB...You could try the COMBO or STACK modes that load the live cabs and see if they matchup better...They are a little lighter on attenuation than the FULL cabs when in Studio Mode...Best of luck...Sorry I am not more familiar with your amp,

You can also Morph a Soldano crunch...It will get fairly clean and works pretty good for me on some tunes that need the morph with more FX than a dual tone morph can bear in DSP. There are few other models that can do it, but not many....so this is a limited option. Using expression parameters you can setup a clean tone on pedal min to crunch on pedal max. Takes a bit to dial one of those just right, but can save quite a bit a of DSP and give an instant clean crunch toggle. I have used a expression FS for it at times and that approach can save an FS for other stuff...lots of way to skin the cat here.

maybe your output switch is not set to line level, or you are trying to drive speakers that expect line level from the XLR outs. The XLR outs are fixed at MIC level. Great tones in that box, but if your output is not setup right anything can sound like garbage. Soldano Clean probably my favorite clean model in the bunch. Perhaps if you gave a little bit more about how you have things hooked up and listening, we could help. How do headphones sounds?

tonally, sure there are some differences. But I would not say that is either good nor bad. Both are fantastic tonal amplifiers. The most marked difference to me between my DT50 112 and my DT25 head w/ 112 cab is that the DT50 has a lot more headroom. This translates into excellent dynamics that are nearly on par with a Fender Twin...The DT25 struggles in louder environments with clean tones...Basically, the DT25 has just enough power. clean tones get squishy really quick...

I saw your earlier post also. I am not sure VST plugs will work well live unless you have some hardware to load them in...It really depends on the vsts you are using. It's doable, but I think latency becomes the battle with getting VSTs going live in a rig like you are building. Great Harmonizers take a good bit of processing power. There is a simple Harmonizer in the HD POD, but I seriously doubt it would work or track well with a vocal as. It works for some things on guitar, but I would not say it is strong. I would say it's a decent utility harmonizer for guitar..However, it is fairly simple to use... Anyway, I have used the Vocallive boxes for a while (10 years now). I just helped a buddy of mine get going on the new Vocallive 3 Extreme...That box is just nutz...I don't think you will find a vst that does anything close to what the vocallive boxes do. In terms of live performance, a vocal live extreme can take care of a lot of stuff...The looper and backing track stuff are quite impressive. The guitar modeler is excellent as well. If you are building and investing in a rig for recording and live performance I think TC Helicon about as good as it can get in the vocal/guitar harmony area...just my opinion.

it's a tube power amp...There is no other power amp or mystical switching to a solid-state amp as some folks seem to think. The 12AX7 in the DT25 is the phase inverter. That is part of the power amp. The DT50 has an extra 12AX7 that serves as a buffer to drive the phase inverter. That too is part of the power amp. There are no conventional preamp tubes in the DT amplifiers. Sure there are 12AX7s that can be used in preamps, but that is not the case with the DTs.

Sticks and stones. Colorful language is nothing more than colorful language in my view. It does not bother me in the least personally. On that note...back to the topic...Any comments on Helix vs Chuck Norris?

I don't understand the need for name calling and labeling....Well, I do...The underlying rationale to disparage that which one does not agree always emanates from a personal redress of inferiority.

+1 on the clean boost (tube screamer) approaches... One of my favorite pedals for this is a stock Boss DS-1....clip out two resistors and the distortion potential drops by nearly 10x and the clean level potential jumps about +12db or so....you can also take a cap out and make the tone control less effective turning it into a treble booster...

I have heard and used the Helix models next to HD models. The Helix models are definitely higher resolution that is quite noticeable to me. Line 6 made a big improvement in the amp model defaults in Helix. At least in the ones that I have actually used. You pick the model and it sounds pretty darn good from the start without nearly the amount of the tweaking that it takes in the HD. The difference in model quality might be something you could notice in a studio setting where you are recording all the time in a tone critical environment. However, I think most people would be very hard pressed to tell the difference between the Helix and a dialed in HD in a live setting. The player might certainly be able to tell the difference, but no one listening would be able to.

hmmm. that is a different response than we have seen from Line 6 semi-recently....Interesting...

just some commentary. What I found that works for me when using solid state power is the power rating needs to be at least 400 watts @ 8 ohms. This approach can get really close to recreating the feel of a 100 watt tube power amp. The rationale for this is actually fairly simple. All tube power amps have the capacity to exceed their output rating by a factor of 2-5 times depending on the design in the form of fast transients. Fast transients are kinda like the spank on a Fender twin when it jumps out of the cab and grabs you around the neck. Tube amps are unique in that they are self-limiting when you drive them at full power and will not pass DC. Bascially, they will not clip hard. Solid-state does not behave this way, so the more power the better when you want to achieve something close to the same feel you might get from a 100 tube amp. I think those are decent power amp choices considering a single 212 cab. I would be a bit torn between these two. The SLA has a slightly higher power rating (200 watts @ 8 ohm per channel vs 150 watts per channel @ 8 ohms). However, the SLA is a solid-state class AB. That is a reliable design, but it is only about 40% efficient at best as it will draw 1000 watts to put out just over 400 watts. The Behringer is a Class D amplifier. That means lighter weight and efficiency beyond 90%...It pulls what it needs and Class D can be exceptionally clean with very high dampening compared to typlical solid-state. The power rating is borderline...I think if you just pick the one you like better, you should be ok.