FlyingSquirrel

Much of this has to do with gain structure and reasonable eq'ing. I've got mine to the point where FOH just leaves my channel flat with a bit of low end rolloff, and it sounds quite clear and sits well in the mix. I've been using Avioms for about 13 years now, and I've never had a problem getting my POD's to sound great in them, but I also set up each preset in Pro Tools against other tracks, ie; drums, bass, keys, & other guitars, so by the time I get to a live situation, I'm already dialed in to sit within a band mix context. I would consider sitting down with your church FOH person to dial in your presets/rig in that context. I have my preferred presets for studio, and banks of them that have been tweaked slightly for live use, and I never use one bank in the other context. I've also found that pushing the levels of less than ideal ear buds in the Aviom System can yield similar results. I would steer clear of any single driver IEM earbud, and if I could afford it, go with nothing less than a 3 driver system and custom molded earpieces. You just can't get low end to come through earbuds cleanly if you don't put out some $$$ on quality earbuds. I think the headphone outs of the Avioms are on a different level than what you typically have coming from IOS devices & iPods, because any buds I've used that were made for those units sounded like trash in any church Avioms that I've used across 3 states. For the longest time, I used my over the ears Sennheiser HD280-Pro headphones, and never had an issue.

Maybe this might help. Line 6 dimensions.xlsx

Try some eq changes at the current volume to see if it sits in the mix in a place that it can be heard within the total band mix. I've experienced this a couple of times. I've lowered the preset volume of the crunch channel to match it up, and found that sometimes it's a matter of pulling out some of the lows or raising some of the mids to get the clean to sit & be heard well.

I had similar questions a few months back. Here's what I found. http://line6.com/support/topic/19997-anybody-using-any-one-spot-products-with-their-hd500x/page-1#entry156510 http://line6.com/support/topic/19997-anybody-using-any-one-spot-products-with-their-hd500x/page-1?do=findComment&comment=150788

It's just how it is. I use my stock banks for home recording. I use stock banks for live play with my band. I use other banks that I use on the church worship team. I have banks that are specific to a particular guitar, ie; Baritone Tele bank, Ibanez RG7620 7 string bank, etc... I have passive under-wounds on the Tele, Dimarzio Hi-Outputs on the 7, and active EMG's on my main sixer. I also have banks consisting of misc. "one-off" presets, ie; special effects. These can all be arranged in a set list using the editor.

Those were some pretty creative presets in those 2 video's.

Coming from experience of having had a 20 space rack full of everything at the tune of $12k when I was touring, I'm quite glad for the floor modelling units like the HD500X that I currently have, or the Helix. When your rig has to pay a cover charge because it is so big, it becomes more of a burden than a resource.

If the venue is capable of giving you signal back into your stage monitor, you should need no amp on stage. If you have IEM's, even better. For live, consider consolidating your output to mono. Live Sound Reinforcement is seldom in stereo. Summing to a mono output will solve any phasing issues that may present themselves. Even if you give the a stereo pair of outputs, they're likely only going to put them out from FOH panned down the center. The lower the stage level, the better the fidelity overall. The loudest acoustic instrument on stage sets the minimum stage volume level, which is usually the drums. Minimizing the SPL on stage is better overall, hearing, better control from FOH to provide a mix that comes from the mains, not a combination of the mains and the stage volume.

I had a similar experience in a session yesterday. It turned out the eq controls on the dual concentric pot on a Carvin 5 string bass had been turned all the way up, clipping everything in its path. I brought them back down to flat, problem is gone. That bass/treble spike sent the gain structure through the roof before leaving the Carvin's output jack.

For program changes, yes. Not sure about any cc assignments to the JMP-1 in particular as I do not have a manual. If you run it like the 4 cable method, along with a midi cable from the Pod's Midi-out to the Jmp-1 Midi In, it will receive program change messages. Your POD then becomes an effects unit chained into the effects loop. Be sure to turn off any amp modeling if relying on the JMP-1 for your amp tones.

Ja3k3l, The amp/loop return is pre-power amp section of your amp. There should be nothing between the speaker out of your amp and the speaker cabinet as this is a powered signal and will fry anything else you put there. If your amp does not have an effects loop, you'll have to run the POD in front of the amp, i.e.; guitar-pod-amp-speaker. No other option is available to you under this setup. If your amp does indeed have an effects loop, you would run it as follows: guitar, amp, effects send to pod in, pod out to effects return, speaker out of amp to speaker cab in. Done. I hope that is helpful to you.

See Post Number 5 in this thread: http://line6.com/support/topic/23260-i-have-problems-to-make-work-my-wah/?do=findComment&comment=177104

Wah will only turn on/off if it is part of the preset. There are some presets that have no wah programmed into them. Once it's there, mapping the switches is easy, all the more easier if using the editor.

Well stated. I'll just have to build it up from scratch with the iTunes going.

Surprisingly, couldn't find any usable Bomber tones ala Jerry Cantrell/Alice in Chains on Custom Tone. Most of them are with blackface and or combo'd with something else, but no Bomber only tones. Anyone here have any you'd care to share?

+1. I have my "stock" personal/band presets that start this way. If I have a deviation, ie; flange phaser on the Mod effect, I copy/paste to another location and only change that one effect along with its associate parameters. I have a number of presets that I use which are named according to the song, but they all start out this way. Keep a bank as a "control" or "source" bank, meaning, you never change these presets, but only copy "from" them to another location. Make the edits in the new location and name it according to its need, ie; song name or other. Back them up on hard drive, and USB Thumb drive. I have my presets in my pocket 24/7, and if I showed up to a show with nothing but my guitar and a laptop, I could pull up my presets/sets from that alone.

Well, the ONE Spot and its associated adapters has been working for me using the HD500X and some additional pedals. I got the polarity inverter based on the feedback/counsel from TruTone, and it's a perfect fit. Not sure about any right angle adapters though.

I've always downloaded the manuals for major purchases like processors or synths in advance to see if they would do what I want, then I'd go try it out in the store just to hear the outcome. I had a slight compromise going from the Johnson Millennium J250H head to the POD XT Live only in that I was missing the Dual Signal Path and the Smart Pitch Shift, but I compensated slightly with my Whammy Pedal. I have all of that back, & a tad more in the HD500X, certainly more than I had in my "fridge" rack, including a better tracking, software version of the IPS 33B or H3000 harmonizer. Back then, I couldn't afford to keep up with technology because it was so compartmentalized rather than what we have now in consolidated form. There certainly was a transitional period of time where dedicated processors were better quality than multi processors, but here we are, and I'm quite happy to be here. Gives me far more options to create with, and a much simpler load in/out with a smaller footprint on stage and in the vehicle.

And the more comprehensive version: http://line6.com/support/topic/20373-show-your-boards-stereo-setup/?p=153613

This thread may provide some insight as I had the same question a couple of months back. http://line6.com/support/topic/19997-anybody-using-any-one-spot-products-with-their-hd500x/page-1?do=findComment&comment=150788

Yup. I'm quite thankful for the advance of technology and how it allows us the same tools in a more compact package.

I create all of my presets in the context of a band mix recording, so I set my eq, gain, fx levels, everything, right there. This tellls me if I'm taking up too much, or too little space in the mix, if I'm sitting just right in the sweet spot, my boosts are loud enough but not too loud, my fx levels are just right, everything. I might make some additional adjustments, or copy a preset & make a bit of a low end cut specifically for a 7 string preset, just so that I don't take up space in my bass player's range, but that's about it. More often than not, I show up to play, they bypass the eq, setup a gain structure for unity gain, and give me what I need in my "in ears", and I'm sound checked.

Well, I've been using modelling technology of one sort or another for many years. Back in the 80's/90's I had the big ADA stocked 20 space rack that I invested stupid amounts of money into, as well as a couple of custom 4x12 cabs and a custom horizontal 2x12 cab when I was endorsed by ADA. After they went under, I went the Digitech route with a couple of Valve FX's, then the Johnson Millenium J250 Head. About a decade ago, I got the POD XT Live and then sold off my cabs & Johnson head & went totally direct with "in ears". Haven't looked back since, lower volume in my ears, better fidelity, better monitor mix with stereo separation, my ears are thankful, so is my back and now that I'm on the HD500X, I actually have more processing power than I did in that huge rack. Especially with the pitch shifting functions. The HD500x tracks better than my old favored Digitech IPS-33B did, and I loved that thing! My entire load out consists of about 3 or 4 guitar cases, depending on the gig, the pedal board, and the 6 gtr case/stand with the occasional small gig bag of cables. All of which can stack up in the back seat of my PT Cruiser, or in the cargo area of my Buick Rendezvous SUV. I wheel them all in on a cart, and I'm loaded in.

For me, the Uber model is right in the pocket. I wouldn't mind seeing a model of the EVH 5153 though. Here's a demo version with the Uber. No post eq'ing, no production mixing/mastering, just a quick bounce as a reference mix. http://www.soundclick.com/player/single_player.cfm?songid=13196573&q=hi&newref=1

I have a Carvin AG100D Acoustic Amp that I pull out for use with the 500X on rare occasions that I need an onstage guitar only monitor. When I do, I connect the 500X's line out to the return of the Carvin, essentially bypassing all of the eq and preamp stages, going direct to the power amp section. There's an attenuation control for the tweeter, which I rarely have to touch. Most of the rest of the time, I only use the amp for coffee shop type acoustic performances where it's just my acoustic guitar and my vocal.