silverhead

Since you quote me, I think it's only fair to respond. If you read what I said, nowhere did I give advice. I certainly did not recommend that he buy the HD Pro. That's his decision. I simply answered his question about the differences. I didn't even offer my opinion about the differences - I did not state or even imply that they were advantageous. I simply stated them. He is quite capable of deciding whether or not those differences are worth the price for him. Read what I said. If you imbued my comments with additional import, that was your doing - not mine. I would appreciate a public clarification, or retraction, of your call of 'foul play'. Especially your implication that I may receive a commission from misdirection or insincerity. I am not a Line 6 employee and I certainly do not receive any commission. I find the implication quite offensive.

Go to your computer's system sound settings (Control Panel on PC; System Preferences on Mac) and assign the Pod HD Pro to be your computer's soundcard. Also, in the Line 6 Audio MIDI Devices control panel, you may need to adjust the Hardware Monitor slider to increase the monitoring level.

Use the Line 6 driver. Monkey will help you download and install or reinstall it. Remember that once you connect your HD Pro to your computer it will become your audio card. Connect your speakers/headphones to your HD Pro outputs. Turn off the monitoring feature in your DAW; that is usually what's responsible for latency (the delay problem). Another potential cause is the size of the audio buffer your computer uses; again, the Line 6 driver allows you to control this using the Line 6 Audio MIDI Devices control panel. Experiment with different settings.

Use Monkey to help you download and install the drivers. It will tell you when to connect and/or disconnect your device re: driver installation.

You can try a standard XLR mic cable. It might work but it's not as reliable and not recommended. You might suffer a quality degradation or loss of control data. The standard XLR cable is designed for analog data traffic. The ABS/EBU cable is designed for digital data traffic, which is (at least in part if not entirely) what the L6 LINK protocol carries.

That's good to hear. Can you point me to this statement ? I must have missed it.

I don't know where you are getting your numbers, but I note that I would expect everyone who responded to this thread to have rolled back, since that's the group of people whom the title of the thread is inviting to respond. Of course, that tells you absolutely nothing about whether there is 'something wrong with the 2.0'. All it tells you is that some people prefer v1.9. I imagine there are far more than 35 people who upgraded. What should we assume about the rest, who won't respond to this thread? We shouldn't assume anything - but if you feel that 32 people mean something's wrong, I guess I would argue that the full number of upgraders (less 32 people) mean something is very, very good about 2.0. Personally, I think 2.0 is much better than 1.9.

In Cubase, configure your Audio System settings to use the HD Prox and its ASIO driver as your audio input/output device. I presume you have your headphones connected to the HD Prox. If not, you should. VST has nothing to do directly with recording using the HD Prox via its usb connection. You do your EQ processing on the HD Prox, in your preset settings, or you can do it post-processing using VSTs in your DAW applied to the previously recorded track (at which point you are no longer using the Prox).

I don't think that's the question... Or, if it is, it does not follow from the X3 Tone1 and Tone2 illustration. The hd500x analogy to the X3 would be Path A and Path B. In both cases, the delay trails continue if you 'switch' tones/paths within the same preset. Also in both cases the delay trails do not continue when you switch presets. The behaviour in both devices is the same. ... So to answer the OP, to maintain delay trails within the preset, use the setup menu to set the delay trails feature ON. That way, when you switch an FX off while remaining in the preset the delay trail will continue. But, like the X3, if you switch presets the delay trails will stop.

Check that your JTV battery is well charged, and that you have a plug in the 1/4" jack (that's the power switch).

There are two significant differences for your purposes: - the HD Prox has about 20% more DSP capacity, meaning you can do a bit more in terms of amp/FX processing in your tones - the HD Prox has additional I/O capabilities that can mean more flexibility in the studio. In particular, it has a Dry Out signal that the HD500 does not have.

Try moving the amp into the block looking thing using the left/right nav keys, then move it up/down.

Another thought. Before you test the hardware theory, it won't hurt to reinstall the HD300 firmware. I'm surprised at how many times that seems to fix various issues. Before reinstalling make sure you back up your bundle.

I can't see anything wrong with what you're doing - there is no special setting on either the HD300 or the L2t to enable the L6 LINK connection. If you have tested/proved that your XLR cable works, and have never used the L6 LINK on either device before, I suspect there may be a hardware failure in one of your L6 LINK jacks/devices. I don't know if it's possible for you to test that theory with the equipment you have. If you are near a Line 6 dealer you might take your HD300 and XLR cable to the dealer, and request that you be able to access both an HD300 and an L2t in stock there. Test that the in-stock equipment works, then substitute the in-stock HD300 with your own. If that works, the problem is your L2t. If it doesn't work the problem is your HD300.

No - they should not be any different. An L6 LINK jack/cable is the same across all devices.

Hold down the left nav key while powering up. Then run Line 6 Monkey and reinstall the firmware.

I use a Pod HD500 and a couple of L3ts. I avoid connecting the HD500 via L6 LINK to the L3t because you no longer can control the HD500 volume by the HD500 itself; the volume that goes to the L3t from the HD500 is fixed - and very loud!. Hence the only way to control it is by turning the L3t master volume way down. This in turn makes it really difficult to balance the HD500 with the other inputs on the two L3t mixers (mics, acoustic guitars, keyboards,....) and also means you can't fully connect the 2 L3ts via L6LINK because you're using one of those connections for the HD500. What works for me is to connect the HD500 analog outputs to the rear panel Line Ins on one of the L3ts, allowing me to control/balance HD500 volume using the HD500 device Master Volume level rather than the L3t master volume. Then connect both L3ts together using L6 LINK in both directions, and you get the L3ts performing perfectly as a stereo pair, handling all inputs of both L3t mixers and rear panel connections. You can support a small band with this setup.

Very true. That doesn't actually do what you originally said you wanted in terms of sharing/utilizing the DSP of two devices, but there really is plenty of DSP horsepower in the HD Prox for most people's needs.

Never hurts to carry a charged battery as backup for emergencies (failed VDI cable - whether the 'cool' one or the stiff L6 one, or VDI jack failure in either JTV or HD500). Just sayin'.... until the firmware update arrives you're not exactly dead in the water re: using Workbench HD.

This can be done. I would place one device in the FX Loop of the preset on the 'controller' device and, as you suggest, use MIDI from the controller to the FX Loop device to switch presets and keep them in sync. You would probably want the HD500 on the floor at your feet as the controller, so you would connect the HD Prox through the HD500 FX loop, and the MIDI Out on the HD500 to the MIDI In on the HD Prox. As to your questions: - no - you can't use L6 LINK for this because each device has only an output jack for L6 Link. They are not designed to receive L6 Link info. - questions 2 and 3 have the same answer: HD500 Edit and HDProx Edit are two different programs. Your computer will only recognize one device at a time; you can't use both editors simultaneously.

You don't actually download the JTV models into the HD. The models live in the JTV. You can store the JTV model selection (e.g. SPANK-2) and some parameters (e.g. tone knob position, alternate tuning) in the HD preset. When the HD preset is loaded, it sends commands to the JTV via the VDI connection. The JTV responds by loading the specified model and parameters.

Use the Nav key to select the amp in the signal flow view. Press the Nav key Down arrow. This should cause the display to show the appearance of the second amp. You now have Path A and Path B to subsequently position your FX blocks and tweak your 2nd amp.

First thing to recognize is that Workbench HD works only with the JTV/Workbench hardware interface device; it does not work with the JTV connected via VDI to your HD500. So I would suggest the following connections: - JTV -> Workbench h/w interface -> computer running Workbench HD - JTV 1/4" output -> HD500 Guitar In. Make sure your JTV battery is adequately charged. - monitors connected to HD500 outputs, with HD500 assigned as computer audio card Then for workflow....... - Download workbench patches, or create them, and edit them using Workbench. Monitor the sounds using HD500 presets. Tweak both WB models and HD presets as desired. - When desired sounds have been achieved (and/or frequently along the way) download the WB patch into the desired model location on your JTV, and save the HD500 preset with the JTV model selected. That should do it. You're ready to disconnect the computer, and reconnect your JTV to the HD500 using the VDI connection so that the JTV is controlled by your HD500 preset selections.

Nothing to apologize for. I too am floaty, having my second pre-dinner glass of wine at the moment. Let's both blame the substances!

Right. I was confused. Thanks for clarifying. You can assign the same FS to control multiple FX, which is what this is. I was thinking you were assigning multiple FS to the same instance of an FX, which can't be done.