silverhead

I acknowledge and respect your personal opinion, but how does that translate to 'consensus here in the forum'?

The symptoms point to a USB connectivity issue more than a driver issue I think. Try all USB ports on your computer (I think you've already done this, but make sure). Also make sure you are not using any USB hubs. Systematically disconnect other usb devices for test purposes to try to identify a conflict (Logitech webcams have been a frequently reported conflicting device). Here's a fairly old but still relevant document that may help: http://line6.com/support/docs/DOC-1484

Not sure how you concluded this (can you let us know?) but I use the D-28 models regularly. I also like the acoustic Gibsons. The Martin parlour model is the only one I don't really use.

I've tried drag/dropping a Setlist file and it doesn't work. You need to use the Open Setlist command and then change the Open file filter as noted by briandshelby. This should work for opening HD500 files in the HD500x. Note that it's not backwards compatible, for the DSP reasons mentioned. Also, you can get unpredictable results when drag/dropping HD500/Pro/Desktop files between devices because of the different Inputs. Best to use the file conversion utility developed and generously offered by jzab: http://www.jzab.de/content/pod-hd

Also let us know what guitar you are using, and whether it uses active pickups (batteries OK?), and how close the pickups are to the strings.

Check your Inputs to the preset. Try setting Input 2 to something other than SAME (e.g. set it to Aux, and don't connect anything to the Aux physical input).

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Like The RealZap says, the issue is the ASIO audio interface protocol - not Line 6 devices. Line 6 devices (and those of many other manufacturers) are fully ASIO-compliant. This means that only one can be used at a time with your DAW. It's an ASIO limitation - not a Line 6 issue.

I'm not at all clear on what you are trying/wanting to do. Please elaborate.

The HD500x chassis is the same as the HD500. The bag will fit.

Try setting up the two Tones to be identical, both with the delay FX at the end (to provide the 'overall' delay). In one Tone, set the Delay Duration, Feedback and Mix level as desired for tonal quality. In the other Tone, use the same Delay FX, but set its duration to be longer, and set its Mix Level at 100%. Control the number of repeats using the Duration setting, as usual. Disclaimer: I've never actually done this, but I think it might come close to achieving what you want.

I see the "DSP Limit" is still being reached in the HD500x, albeit at a 'higher' level. Not surprising, really, because of the device design. This argument has been going on for years, and you either like this design or you don't. There ARE Pod HD models that do not have any apparent DSP limit - the Pod HD300/400. The following snippet is from a post I just made in another thread. http://line6.com/support/topic/1611-pod-hd-users-what-do-you-miss-about-pod-x3/?do=findComment&comment=9493 It is not intended to ignite the old debate - it's just intended to clarify (for new readers) two design approaches to the reality that ANY processor has DSP limitations. The options are: hide the limitation and prevent users from using all available DSP in most situations, or expose the limit by putting the user in control of DSP management. Your choice - but there is NO DSP processor that is unlimited. The debate really is whether or not the Pod HD dual-path devices (all models, including the 500x) have 'enough' DSP - but of course there's never enough. The real question is: do you want to be able to use all that is available, or not? Re: DSP overload - the X3 has its DSP limitations too, as does any processor. Most processor manufacturers guarantee that you will never observe those limits by constraining your selection and placement of FX. In the X3 you can't use both a distortion and overdrive in the same Tone. You are limited to 3 FX blocks from which you can only select one instance from that group of FX. The same constraining design applies to the HD300/400 - you will never encounter the DSP limit because it is engineered away. With this design model, in any preset that uses DSP-light selections for the FX slots, there is a LOT of technically available but actually wasted DSP I prefer the HD500/Pro/Desktop design model. The user is in control of all available DSP, and the selection and placement of all FX is entirely at the user's discretion - up to the point that all available DSP is being utilized; that's when the DSP Nanny steps in and prevents you from doing any more.

I have kept my X3L around since I got a Pod HD a couple of years ago. At that time I thought I would really miss the studio-related features of the X3, in particular the ability to record dry tones directly via the X3 usb connection and the availability of Pod Farm which was (and still is) directly compatible with the X3. This made it easy to match your recorded tones when playing live. The variety of mic and bass presets/preamps/amps also was initially missed. However, the superiority of the Pod HD tones (especially the vol/tone sensitivity that you mention) proved to be a higher value for me. My X3L has been in storage for more than a year, during which time I have learned to work around (or at least not be bothered by) the studio deficiencies. Re: DSP overload - the X3 has its DSP limitations too, as does any processor. Most processor manufacturers guarantee that you will never observe those limits by constraining your selection and placement of FX. In the X3 you can't use both a distortion and overdrive in the same Tone. You are limited to 3 FX blocks from which you can only select one instance from that group of FX. The same constraining design applies to the HD300/400 - you will never encounter the DSP limit because it is engineered away. With this design model, in any preset that uses DSP-light selections for the FX slots, there is a LOT of technically available but actually wasted DSP I prefer the HD500/Pro/Desktop design model. The user is in control of all available DSP, and the selection and placement of all FX is entirely at the user's discretion - up to the point that all available DSP is being utilized; that's when the DSP Nanny steps in and prevents you from doing any more. I am planning to sell my X3L very soon.

Again, the HD500x market is NOT current HD500 owners. There's no reason for existing HD500 owners to be disappointed because they were not targeted for a vast improvement. Also, as you say, you are not having any problems with DSP. Why are you disappointed that a problem you are not having may not be fully resolved?

I can understand your motivation - it takes a lot of time to create tones that you like. But if you are completely happy with your Pod XT tones, just keep your Pod XT. The reason for going to the Pod HD is that you want to improve your tones - and you can certainly do that. But nbot by trying to recreate/reproduce your XT tones. That approach wastes a lot of time and ultimately defeats the purpose. You would be doing yourself a great disservice to use the Pod HD to recreate inferior tones that you already have. If you purchase a Pod HD, keep your XT for gigging until you have spent the time you need to create superior tones with the HD - and you won't do that by limiting yourself to XT thinking. Experiment - start from scratch and let your ears guide you. It will take time, but you won't be disappointed in the end, and you won't waste time on trying to get back to where you already are (XT tones).

But then your strings would be tuned up a half step, because of the capo, and you would still hear their natural vibrations at low volume. Your modeled, alternately-tuned strings would be heard at standard-tuning pitch through whatever monitor/amp you use and the naturally vibrating strings would be producing the half-step-up pitches that you would hear.

You won't lose the HD500 Edit program. Different HD Editxxx programs can be installed simultaneously.

The Pod HD dynamics and amp modeling are far superior to the X3. The HD is much more responsive to pick intensity and to guitar volume level in terms of dynamic grit/distortion. However, for recording purposes there are a couple of ways in which the X3 can still be considered superior. Whether or not these are relevant to you depends on your workflow habits. - The X3 directly supports recording a dry signal over usb for subsequent processing via DAW plugins. The HD does not do this directly when used as the audio interface, but there are workarounds. - In the same vein, the X3 has a directly analogous plugin - Pod Farm. The tones are interchangeable and the DSP uses the same algorithms so you can reproduce live exactly what your recording sounds like. There is no Pod HD plugin.

You could try using just the Vintage Preamp on the HD500. You will find this in the EQ/Preamp FX section. Another option is to use the Tube Comp FX, but you'll have to tweak it to find the right balance for minimal compression with adequate gain/level control.

Use this patch converter to create the corresponding HD Pro patch: http://www.jzab.de/content/pod-hd

Hopefully the proper transformer will allow the XT to work, and that there hasn't been any internal damage suffered from plugging it into 230V supply.

What about pages 2-17 and 2-18 in the manual? Do they help?

But isn't the controller strip a subset of the Gallery? If you find and remove it from the Gallery won't it disappear from the strip?

I know very little about locking tuners and have never actually used them. But it seems to me it would defeat the whole purpose to require a screwdriver (twice!) to change a string - once to remove it and again to re-lock it. Their whole purpose is to simplify and accelerate the string-changing procedure. ClevisB - there MUST be a way to do this manually, and quickly.

See Manual page 2-14: To remove an item from the Stage Icon Gallery: 1. In the Stage Icon Gallery, Press+Hold the Stage Icon you wish to remove. Wait for the item’s context menu to appear 2. From the context menu, tap the Remove from Gallery button You will observe that the icon is removed from the gallery. Note: This operation does not permanently remove the item from StageScape’s preset library.