FlyingSquirrel

This is so helpful, thanks so much!

I'm considering upgrading from my HD500X, and considering the multiple input/output options, one of my considerations is to eliminate my Morley ABC pedal that I use to select between Wireless A, Wireless B, and Cable. Is it reasonable to consider that I could route the output of Wireless A to Return 1, the output of Wireless B to Return 2, and have those footswitch assignable so that they precede the guitar input when on, and when each footswitch is off, that the guitar input takes precedence? If so, then I could mount my G30 wireless receivers more discretely under the pedal board with the Freidman power supply, and have an overall smaller pedalboard footprint.

Not seeing any mention on the site.

I would just say that "less is more" when it comes to gain. On its own, I sometimes think that I don't have enough gain in my guitar tone using the Uberschaal model, but when I record & hear it back, it's plenty fine, and dynamic. My recordings are in the 2 guitarist perspective, ala Judas Priest, Iron Maiden, etc... and my recordings always remind me that I am serving the recording best with the sweet spot of gain. Yesterday, I was playing on my church worship team, and I ran across the same scenario playing along side an acoustic, J-Bass, Keys, and a drummer with 3 vocalists. During sound check, again, I'm thinking, "do I have enough gain?", but then when the rest of the band fired up, I quickly put those concerns to rest as my tone fit the entire band mix appropriately. Because I spend a great deal of time creating my presets in a recording environment in a band mix context, FOH barely does anything to my signal other than a slight rolloff of some low end, according to their room, and a unity gain signal. That's it, no gate, no comp, just good gain staging with minimal subtractive eq.

I had similar questions a while back. Here's what I found. http://line6.com/sup...e-1#entry156510 http://line6.com/sup...e-1#entry150788

I recently added Amp B in conjunction to Amp A for my lead function, that way I can have my lead tone as a function of FS4 within my crunch preset, with just a touch more gain & mids on Amp B and to me it sounds more consistent to Amp A when A/B'd. The settings for Amp B are pretty much the same, with the sag dialed back a touch & more mids/gain.

Now, if you could adjust the taper of the pedal's movement between these two extremes, it would be quite useful. That middle position could yield some useful blended tones if the level remained at a useful level. Something akin to EMG's ABC control: http://www.emgpickups.com/accessories/bass-accessories/summing/abc.html#info

Just with regards to end users who aren't using the 81, which is EMG's highest output humbucker. IE, I use a 57/66 combo, so once I would download your preset, I'd have to make a slight compensation in drive. Is this available on Custom Tone?

Not bad, what pickups are those? May help with addressing differences in output. Have you uploaded this to Custom Tone?

I prefer his Diary tone over Blizzard. Blizzard seemed far too harmonic & compressed. Diary was more organic and dynamic.

I only have it on my iMac studio computer, and cannot install it on my Macbook Pro for the very same reason, but my Macbook is full on the startup disc anyway. I'd be curious if any mods have any suggestions.

Have you installed HD500X Edit?

Yup, me too, it "is" my solo boost.

I've always wished they borrowed from the POD Farm parametric GUI for the HD series. It was easy to use, and minimal controls.

Pianoguy has some very valuable points, all valid, all practical. I would add that it's helpful to create your tones in a DAW using backing tracks so that you can edit it in such a way as it sits in the mix, before it hits the interface, before it hits a a connection to FOH. The better you do this, the better FOH will have a usable tone from you across your live tone library. FOH will like you better for this, as they will have very little eq'ing to do to your signal making their job easier of carving out a live mix. They'll have a good gain structure to build from, and you'll end up liking what you get back in your monitors or your I.E.M.'s. This takes time, a lot of back and forth, but if you invest this time wisely, and even have someone more experted than you give a critical listen & provide their input, it can, and likely will pay off big time. Additionally, with regard to stage volume, anything that you can do to reduce that will also make the job easier for FOH to provide a good tangible mix for the room. Consider this, the loudest acoustic instrument on stage sets the minimum stage SPL. Most of the time, it's the drums, but I've seen plenty of examples where guitar players were trying to achieve a break in the sound barrier with excruciating volumes. You need only be loud enough on stage as to hear yourself. You may consider rather than firing your cabs from the backline towards the front, to relocating them to the side and fire them in from there, like a side fill. If it's only for you to hear yourself, then put them where you'll likely hear them no matter where you are on stage, and you've just knocked your SPL down a bit to make FOH's job easier. Plus, it gives you more room to run around on stage. You might even consider downsizing to 2x12 cabs, since they're aim with more focus in mind. This is what I did back in my final year of touring in 2002. Sold off a couple of 4x12 cabs & went down to a single 2x12 on each side. Even then, where the room sounds like poop, there have been times that I have gigged and not heard a note that I played because the room sounds like bees in a boxcar. This is where professionalism trumps idealism. You've rehearsed for this, you know your job, you know your role, and you have the physicality to do your job, along with the muscle memory that goes along with it. You show up, you do your job. The main person who absolutely needs to hear himself is the vocalist. So long as everyone else can hear the drummer, you can make it work. Again, this won't be ideal, but, you've not rehearsed up to this point just to the point where you get it right. You've rehearsed to the point to where you can't possibly play it wrong.