silverhead

I believe the 'T' is for Tower (typically mounted vertically on top of an L3s).

You will get more reliable performance with the digital AES/EBU cable. Standard analog XLR cables have been known to work OK, but some have reported problems. Line 6 recommends the AES/EBU.

I much prefer using Reaper rather than Audacity. Connect your HD400 via usb to your computer, then launch Reaper. In Reaper, configure the Audio settings to use the HD400 and its ASIO driver as the audio device. Use Studio output mode on the HD400. When arming a track in Reaper for recording, select the desired HD400 input source (L, R, or Stereo Mix). Turn Reaper's Record Monitoring function OFF and use the HD400 headphones/outputs to monitor while you are recording. This presumes you have already downloaded and installed the HD400 driver (different from the firmware). Try this out and let us know how it goes.

... and you need to specify the X3's ASIO driver in the audio controls of Reaper.

Perhaps the four-cable method of connecting your amp and HD500 is what you want: http://line6.com/support/docs/DOC-2504 I think this will let you do what you want by using an HD500 preset with no amp, some FX placed before the HD500 FX Loop, and some after.

You can't directly assign specific FX to specific outputs. Panning may be helpful, as may the HD500 FX Loop - can't say without more specifics, but give it a try.

Your device may simply be faulty. My FBV MKii worked flawlessy with my HD Pro right out of the box - no configuration to either device required. If you bought it new I would return it for replacement. I'm assuming you've confirmed that it's not a faulty cable.

Your original post was quite broad - you asked several general questions. Now it seems you might be having a specific problem. What exactly can't you 'fix'?. Let's take one thing at a time - describe a specific problem you are having.

If it's just the sweaty-finger thing I would simply wrap some transparent tape with a stickier surface around the knobs.

The Aux inputs are digital streaming inputs, fed by an external computer (usb cable connection) or an external SD/USB card/drive. To use a connected laptop you need to assign a stage icon (there is a default laptop preset). If you connect an SD card or USB drive the M20d activates the Media Player. In either case an encoder is assigned like other inputs and you can adjust the levels. I'm not sure whether you can control the Trim level for these, but you can certainly use the encoder to balance the output levels relative to other inputs. Update: I've just confirmed that you cannot adjust the Trim (input) level of the Media Player - just its output level. Also, I realize you may have been talking about the AUX INPUT jack beside the L6 LINK output jack. That is designed to accept input from an external CD/mp3 player. It also behaves like the SD card input; a stage icon is assigned when you connect an 1/8" plug and you can control the output (not Trim) level.

You can use the patch converter here: (thanks to jzab) Convert & Modify POD HD Presets | www.jzab.de Of course, HD500 dual-path presets can't be replicated on the HD400.

That just cost you a vote!

I think you are wise to consider FRFR studio monitors in your home if you want to get your patches to sound as close to possible to how they sound at your church. I don't think there's a huge difference in the quality of sound that different studio monitors will deliver within a competitive price range (as long as they are truly FRFR). I think the most important factor is the size of the speaker. The bigger the better (certainly no less than 5" I recommend), but your budget will be your guide here. The reason that speaker size is so important is that this has a great impact on the maximum loudness that can be achieved without distortion. And listening at loud levels is important when building your patches because louder volumes inevitably affect the sound/tonality. That's a reality of the human ear independent of equipment. The louder you can listen to your patches at home thru FRFR while constructing them, the closer they will sound to the way they will in your church. But still, you will need some tweaking time at church to adjust for volume and venue differences. Since you are mainly in the one venue, your church, it might be worthwhile maintaining two setlists of patches - one for church and one for home. I think you might start with a fair bit of time for yourself in the church tweaking your patches to taste. Then take them home and figure out what adjustments will make them sound good thru your FRFR monitors. Then, when building new patches at home, after getting them to sound good at home, you can reverse the adjustments to get a good starting point for your associated church patches. This should minimize future tweaking time during setup at church.

Yes, but you currently have the DT25. You KNOW you need the DT50. Don't hesitate another minute or it may be gone!

That would probably work best if you use your HD500 presets with no cab/mic selection (the Pre rather than Full amp models). In Electric Guitar mode, the L3t will provide the cab. But if your HD500 preset uses a Full amp model, with cab/mic selection, then you want the L3t in PA mode.

I find the sound quality to be excellent - not at all squeely or unclear. Yes, you can connect via L6 Link as well but I find it very loud. More difficult to balance volumes. Having said that, I didn't experiment with the L6 Link too much - I immediately got good results with the XLR outpus and stuck with that. My general comment: you'll be happy with it.

I have used a Pod HD500 (for electric guitar) using the L3t rear-panel XLR inputs, and a mic and acoustic guitar into the two channels of the side-panel mixer. Works well. I see no reason why you couldn't add a keyboard into the rear-panel RCA inputs. The only potentially tricky part will be to balance the levels using the L3t mixer for the vocal mic and the output level controls on the HD500 and the keyboard, because the rear-panel inputs have no level control. I think for best results you should set the L3t to use Reference/PA mode.

This doesn't exactly answer your question, but I think it is useful info for you....... I switched my Variax 300 to Graphtech piezos based on the advice of others on this forum who had done so. I noticed a big improvement over the V300 version of the LR Baggs piezos. I also have a JTV-59 and I can say that the improvement in the LR Baggs piezos on the JTV series is very noticeable. I don't detect any deficiency in the JTV LR Baggs vs. the V300 Graphtech. As a result I have chosen not to switch to Graphtech for my JTV.

I'll give it a try......... 2) To hear your microphone you need to have a dynamic (not condenser - requires phantom power) mic connected to the XLR MIC input on the Pod HD. Then you need to have your preset using MIC as one of its inputs. Typically, using a single preset for guitar and mic in your Pod HD means you will have a dual path preset, with both paths independent. This means there are two separate signals (Path A and Path B that are sent to the HD outputs - and, importantly, also to the USB output which is your interface to Logic. That means in Logic you need to setup two tracks to record simultaneously - one to record the guitar and one for the mic/vocal. You will see these individual options in Logic when you assign the Record Input for the track as you arm it for recording. 3) There is no 'dry' signal output from the Pod HD over its usb interface. You need to use a dual-path preset similar to the guitar/mic preset above. But this time rather than you select Guitar as the Input to both paths, and you simply place no amp/FX in the dry path. Then in Logic you select the path with the dry signal for recording. You can still monitor the wet signal through the HD as you record, or you can also record it in the same way that you recorded the guitar and mic simultaneously above. Here is a Customtone preset I uploaded some time ago to illustrate the configuration: http://line6.com/customtone/tone/217206 Hope this helps.

Hmmmm.... the first thing that comes to my mind is one or more wonky knobs on the face of the device. Perhaps vibrations are somehow causing it to move counter-clockwise slightly so that over time the volume/tone change is noticeable. I would test this out by 'parking' the knobs at the zero level where they can't move lower, then re-activating the desired patch. Of course once the knobs are parked you can switch patches freely until you need the knobs again.

I wonder if it is related to this: http://line6.com/support/topic/111-make-your-variax-sound-100-better/

Yes, it is recognized right away. But you can easily delete the input/icon from the stage immediately too. That will remove the channel assignment.

I think this is caused by a ground loop between the HD and your computer when the usb is connected. This is quite common with a laptop. Just as a test, try running your laptop from the battery - disconnect its power supply from the wall. The noise should disappear. If so, a permanent solution would be to buy a hum-remover device. I forget exactly what they are called.

Have you downloaded the latest driver for the Toneport UX1? Run Line 6 Monkey with your UX1 connected to determine whether there is a more recent driver. If there is Monkey will help you download and install it. Pay attention to when/if Monkey instructs you to disconnect your UX1.

That is a very cool guitar. Looks great. Does the Bigsby arm get in the way of your Model Selector knob, visually if not mechanically?