DeanDinosaur

Cubase has a file system of 32 float that works with 24 bit sound cards, so you definitely can use the 32 bit float for better results. This comes very handy after the file is recorded. The major advantage is that 32bit file can' be clipped by editing.

I'm glad some are happy with the update! Still it's about every user of the product. If the product is intended to be everything for every guitarist, then it has to address everything for everyone. If not, just make a modeler for those interested in AMP modeling as the focus. That's why I ,as many others, are looking at other products that focus on amp modeling. Eleven Rack is sweet and I bet that the new product from Digitech will also kick lollipop, and that might be because they don't have to worry about linking it to their own speaker or amps and using it as marketing tool to sell their other line of products. If you don't believe me go try the Eleven Rack at $300 without pro tools and you'll realize what I'm talking about.

Make sure the project options in Cubase is set to something higher than 16 bit, preferably 32bit float.

A good investment would be Studio Speakers. For direct recording all modeler are intended to be used with Full Range Flat Response (FRFR). Most stereos and speaker system color the sound by boosting bass or highs to improve the sound. When you use such systems you might be able to get away if you replay on the same system but when you play it on other systems it doesn't translate well. For recording Yamaha HS50M at $ 300 for pair are probably the most neutral speakers anywhere from my experience and many others. If it sounds good on them it usually translates very well on most other system.

That makes a lot of sense specially if the speakers are guitar speakers. Most guitar speakers start rolling highs starting at 5hkz and above!

I't s my pleasure. I think anything analog will shave some of the highs and would work. The real world tube screamer will also load your pickups and reduce highs.

They say the Fuzz face is 22k , if it sounds and feels good then it's good. Many of the old treble boosters had 22 to 32k and that's basically most of the early classic metal sound, sabbath, deep purple , qeen etc. You can hit the amp with the midfocus eq by maxing the level of the Mid focus EQ , setting the low pass at 50 percent and the high pass at 100% into a Plexi 100 with drive at max, and you have Sabbath Paranoid album sound in an instance.

It's a parameter that you can change in any of the patches. In the HD Edit window using the PC or Mac editor, in the left panel you will see setting for input 1 source, input 2 source, guitar in-.Z and input set up (can be set to global so you don't change it per patch) This is really a great feature and it involves having the hardware that's already part of the HD 500 but not in the HD300 or 400. In summary older fuzz peda, corus etcl and effects have a very low impedance level which means if you plugged your guitar into a big muff or fuzz face , due to these effects having low impedance, your guitar pickups are "loaded" which means the equivalent or something similar to having a tone control on your guitar with low impedance (250k popular with fenders and 500k with lesspaul type guitars). So alot of high frequencies are rolled off, so the guitar will sound warmer or darker. POD HD simulate this and it has the hardware on board. So in your POD HD signal chain you have a tube screamer, the real world tube screamer that line 6 modeled had a 250k impedance. To get this effect you can manually choose input z to to 250k. Now your guitar pickups are loaded and high frequencies are rolled off. If this ini-z setting is set to auto, POD HD will only change based on the first effect in the signal chain. This setting is not ideal since most people put the noise gate first (which if you look up in the manual) has an impedance of 1 mg same as amp without effects. Hope this helps clarify..

Lower "Input Z" setting is the solution for FIZZ. It seems to me that the issue is the difference between a track recorded with 1-guitar > audio interface other than POD >Pod input reamplified >recorded using POD USB verses 2-Guitar>....................>Pod Input >Recorded using USB This to me indicates that in case/track 1: Using an audio interface to record a direct signal then sending it to the pod isn't sending an identical signal as in track 2. Using the other audio interface is exposing the file to an additional AD/DA conversion which will almost always result in losing a little bit of high frequency. When Re amplifiying this track less fizz will appear due to the high frequency loss from the additional AD/DA conversion. Solution: there are several options to mitigate undesirable fizz. My favorite is using the POD HD own input Z option. Using lower values instead of auto will do the trick looking at the patches in this thread we see that, as it should be , the noise gate is first in the signal chain which is optimal for most situations, but this creates a problem for the input Z set to "Auto". The input Z setting of auto is following the first effect in the signal chain which is the noise gate so no change is happening as the noise gate has the same input-Z setting for amp without effects. I would use the input Z setting for the tube screamer which is 250K and this will reduce so much of the undesirable high frequencies responsible for most undesirable fizz (There's desirable fizz also and we want to keep that). You can use other values to get the optimal sound and the Input Z setting will make a night and day difference from my experience in many patches where using auto will render the patch otherwise unusable. Another option would be to put an external physical compressor in front of the pod and that will remove some high frequencies from the guitar signal...

Just curious: Does the line 6 monkey see the POD HD once it's on and looping?

I actually had this problem several times and every time I was able to recover using Global Reset!! Actually I could duplicate it. Once I realized that it happened due to corrupt patch after hours of using HD edit. One of the patches became corrupt so I saved it separately to come back to it later before I copied a patch that isn't corrupt over the same location. Sure enough I opened the corrupt patch again just to see what happens and within seconds of using the Edit, the POD went into the dreadful loop. So based on this I would say line 6 already has a solution for this by providing the Global reset. My guess is that it happens due to HD EDIT when interfacing with the computer (pc or Mac) and a patch can become corrupt! To the croSSed: Unplug the USB from your POD and try the global reset. (I'm presuming you were using HD edit when this happened)

What you must learn before you learn anything: 1-How to setup the POD "options" based on what you'r using for amplification. For amp, Power amp. Studio speaker or whatever else Not setting this correctly, your pod will never sound right.

Actually, I agree with your approach. you got the ball started by being first to respond with meaningful facts and I'm sorry that I have offended you as that wasn't my intention. My attitude is that there's always room for improvement, so I need to improve the way I say things when providing my personal opinion or suggestions so I don't seem that I'm just criticizing. Peace

As far as I know the answer is NO you can't. You need to plug the physical plug into the POD...

You didn't answer it directly , You suggested and I quote you: "There are two significant differences for your purposes:". When you should have known that anyone who knows the product, knows damn well that there are not a single advantage for his purposes! so it's time to get off your self-righteous can' do no wrong attitude. If I heard a sales person/Customer support rep in my company giving a similar advice to our customers or skirting around the answer because they don't want to say "no spending the extra money won't serve your purpose", I would have told them the same thing I told you and they would have accepted the fact that their answer was from from candid. If a friend asked you the same question with the same scenario, you would have told them to fix their USB or get another POD HD500. You need to learn how to deal with criticism when you're providing support in a public forum. Sure you're not paid, but you have to live up to a certain level of standards...

I completely understand that you don't get commission and that you're not a line 6 employee. Sorry to offend you, but I know that line 6 employees would very likely be trained to direct potential customers away from even thinking of buying the wrong product that doesn't serve the intended purpose that the customer is seeking. The question of the original poster is "So would getting the Pro X make much of a difference?". Any one who knows the product and what the poster is asking should suggest that HD PRO X would NOT make much of a difference than the the HD500 for this situation, it's clearly not warranted and an unintentional foul play. I'm not implying anything malicious here, but I'm suggesting that because you're not an employee you might not feel comfortable suggesting that a line 6 product might not be suited for specific situations when it very clearly isn't. The guy needs to fix his USB or get another HD500 or HD500X and that would serve him best even for his recording needs. If he needed to interface it with a PRO tool rig or large studio setup, I wouldn't hesitate in an instant to suggest the HD PRO or PRO X, but for his purpose, I thought it's fair to make it clear with an emphatic "NO" there wouldn't be much difference for his setup. I also realize that no where did you suggest the he gets the HD PRO X, but you certainly didn't steer him away from going in the wrong direction because his question is clearly about the improvement in guitar sound quality due to broken USB port. In his current setup and I quote "The quality of the recordings is ok......... So would getting the Pro X make much of a difference?" So the main concern is in the quality of the recording due to the broken USB port in his HD500. He can either fix the USB or get another HD500, but getting the HD PRO won't help the quality. But then again he didn't offer more clarification if he needs to use the mic because THE HD PRO X has phantom power so he can use condenser mics etc. Finally, I will retract the foul play comment and replace it with unintentional omissions that I thought were warranted. And let me finish by saying that I have tremendous respect to the all the expert users and I mean that sincerely due to volunteering significant time and effort to helping everyone on this board. I just felt I was also helping, by pointing out something that I thought could have been handled better in the spirit of helping also.

The dry out is not worth 699 or $200 for an HD Pro X :) That's terrible advice (a signal splitter for very little money can accomplish that). if he goes out and buys an HD ProX based on the suggestions of the advantages "significant differences for your purposes", he will be pretty pissed when he realizes that for a home studio, there's virtually nothing that will justify getting the HD PRO X. I say that with the at most respect. If my customer asks for my advice, I would never direct them towards a product if I'm not sure 100% that there's a significant advantages that they will reap from it even if I stand to gain commission. It's ok to advice customers against a product that's not relevant to them, that's how trust is gained! Sorry guys but I have to call foul play when I see it.

The short answer is NO unless you need special connectivity like AES/EBU and in your case you have another interface so you don't need it!, I honestly can't think of anything that's missing from the HD500 but found in the HD PRO that doesn't have a workaround with your HD 500. You already have spdif out but missing the SPDIF. For guitar recording anyway most professionals rarely ever record effects, they'r added later, so the extra processing is not a big deal at all. If you get an interface with SPDIF in, you're signal can stay digital for the best Signal to noise ratio possible.

In Cubase after you select POD ASIO driver you need to do the following: 1-GO to Devices and select VST connection and from there add input and outputs that refer to POD IN and POD out. Save that connection and give it a name such as POD Stereo IN and POD Stereo out. 2-Add audio track and for input select the inputs and outputs you created in step 1 3-Click on the monitor button to activate a track and play a few notes making sure the meters start bouncing. From here if you click on the red record button and you're ready to go. Optional: 4-Change the monitoring options to software monitoring in case you want to apply effects to the live signal so you can hear effects from cubase. This will introduce you to latency so unless you really need it, don't bother. If you want to monitor live input you have to go line6 devices and choose the monitor tab and move the slider all the way to the left. Also change the buffer to something very low so you can achieve low latency so when you play the delay of how soon you will hear a sound is somewhere 12ms and under. Now you won't hear a sound from the pod unless you activate a track by clicking on the monitor button "m" located in the audio track you added. If you use software monitoring remember to move the volume slider in the line 6 devices back to the right after you're done recording. If you don't the next time you start the pod, if it's connected to the computer through the USB, you won't hear a sound unless you unplug the usb or remember to move the monitor slider to the right for full volume. ...

"Somehow Line 6 takes into account the actual loading and interaction of the cab with the power amp in their modeling". That is probably disabled when you disable cab if I was to guess. Room parameter is also disabled for sure and who knows what that's linked to. Line 6 cab has more functions than just loading an IR so replacing it wit just an IR is sacrificing something else...

Certainly not worth the Extra 500 just to be able to use External IRs. Again I keep saying that I don't think that the LINE 6 CAB in the HD series is just an IR. What I mean is if you disable HD speaker simulations, you're disabling other things besides just the IR. That's what my ears tell me. I've tried HD with plugins by disabling HD cabs and always found out that HD cabs were better because they include more than just the impulse. On the other hand when I disable the cabs in My eleven Rack and use external IRs using PC, there are better results sometimes from using IRS. Look at the HD speaker sim. It doesn't say off axis or on axis and it has "air" or "room" which means it's not just an IR. I'm sure line 6 knows what else is there and if they separate whatever else is there so you only disable the Impulse response only, then I would consider using with External IRs.

The great thing about Torpedo in addition to what you just mentioned, is that you can record a real AMP at bedroom level or even silent recording as it's a digital load Box that can replace the speaker cab normally connected to your tube AMP. So if used with a real tube amp, it can be better quality than AXE Kemper or whatever modeler. You're actually recording the real amp instead of a digital simulation.

Using traditional IRs with Kemper is not really meaningful. Kemper captures the whole thing AMP and Cab. Even though they did provide option for separating the speaker from the AMp after customers requested, it's not really in the original intended design. It's just added variety but with other devices like AXE, POD, etc the IR can be a night and day difference.

Based on what you're saying you're using two impulses: that of the POD HD and the additional impulse. I think when you put two impulses in a row you do get a unique big sound but it's not likely you will get the same sound from one Impulse. TO get similar sound within the POD and no exterior impulses, put the "rotary speaker simulation" with minimal speed after the amp somehwere in you signal chain just so you get the additional impulse (with 100% for MIX).

Thank you for taking the time. I just gave you 4 points for the effort! This is incredible, I never thought to check the hardware screen editor! Which brings another point. this can be reversed on the HD editor as quite a few use the editor, line 6 can easily create a converter to make the HD edit show the EQs in Frequencies meanwhile the hardware can still show them in percentage. I guess doing that will make people realize that many frequencies are missing and then they would really have to fix it!