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FlyingSquirrel

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Everything posted by FlyingSquirrel

  1. 1st "dry fit" of my home made pedal board. I used the same case from Rondo Music (CNB PDC-410H SSL Pedal Case - RondoMusic.com) that I had using velcro on the back, but I didn't feel that it was sturdy enough, so I grabbed 3 sheets of 3/8" plywood, used the center one as a perimeter and spacer block piece, now all of the power cables and audio cables will be concealed between the out 2. The open slot next to the Line 6 G30 wireless receiver is for a second one on a different channel. Now, when I switch guitars live, I de-select A, then select B. I'll have a cable plugged into C as a backup. When all lights on the ABC are off, system is "Muted" before hitting any other audio. I still have room for another pedal to the right of the FB-2 should I ever decide to add one, ie; Cantrell or Petrucci Wah. I show up to church/gig/rehearsal/session, remove the lid, plug in the power, plug in a mic cable to the D.I. and I'm up and running. I have a True Tone (Formerly Visual Sound) One Spot 5 cable plug which plugs into the G30's, the Boss FB-2 Feedback Pedal, HD500X, and the Morley ABC switch. The 5 cable is powered from the HD500X power supply. The entire pedalboard will be powered by one single power supply or "Wall Wart" as they are more affectionately referred. No more multiple "wall warts" on the pedal board. As far as mounting goes, I simply purchased some brackets as you see below, removed the screws from the outermost 4 corners of each pedal, placed the bracket between the screw head and the bottom of the pedal like a washer, then re applied the screw. I got the idea from these guys (http://www.pedalboardsupplies.com/home.html) The Morley pedal has a different type of bottom plate, and the screws for it mount from the side, so I discreetly drilled holes through the bottom place right through the rubber feet, then screwed it down to the pedal board, then re-applied the Morley chassis, and secured it to the bottom plate. I still have some side sanding to do to smooth out the transition from top/bottom, then I'll paint it black on the top, and on the inside of the rear cover so you don't see bright colored backing in the holes. I'm also going to use some glow in the dark spray paint on the outer perimeter which is why I have about 1 inch of reveal left. I did a 3/8" roundover on the top edges so they would stay smooth, otherwise, it'll just get crunched off with the shoe anyways.
  2. My update executed flawlessly, no issues.
  3. Thanks to Dana at True Tone, found a way to use the ONE SPOT, The Multi Plug 5 Cable, and a couple of their adapters, and now I can use just the single ONE SPOT wall wart with the 5-cable & the adapters. This single ONE SPOT wall wart will now be the sole power supply for the Line 6 HD500X, The Line 6 G30 Wireless Receiver, Boxx FB-2 Feedback, and the Morley ABC switcher. Voila, done! The Morley only needs power to light up the LED's, so there's next to zero power draw. First, you’ll plug the standard DC cable from the power supply into the CYR (red) adapter. This reverses the polarity to a positive tip. Next, plug in the L6 (green) adapter. This reverses the polarity back to a negative tip and gives you the bigger center pin. Plug the L6 (green) plug into the Line 6. That way you have a negative tip polarity with the 2.5mm center pin. CYR – Reverse Polarity L6 – Reverse polarity + 2.5mm center pin.
  4. Well, I bought a one spot, works on all pedals BUT the HD500X. Looks like I may have to just use the original along with the One Spot/Daisy Chain. Was trying to get away with only having one adapter on the power strip.
  5. I got one, but the plugs on the Multi Cable 5 Plug fit every pedal on my board except the HD500X. The Wall adapter fits it perfectly, but that's it, not the Daisy Chain. Any alternatives to using the ONE SPOT as the main power supply?
  6. Using dual amp tones, I have a preset where I have one side a 3rd above, and the other side is a 3rd below. I can selectively use either/both harmonies as each one is assigned its own FS. Mix level at about 25% is plenty, still get those sweet Steve Vai/Brian May 3 part harmony sounds.
  7. I use Dual Amps especially in my "Morph" preset. Rock the expression pedal back for a clean AC30, forward for a Bogner Uber. I still have it sent to mono. All of my presets and outputs are sending the same info. For a 2 guitar player band, mono just helps everything sit in its space well.
  8. I construct and send all presets in mono, no more phasing. Live, you're 90% of the time mixed completely in mono anyway.
  9. I still go direct for FOH, but I just use the onstage cab for reference and to generate feedback sustain. I still get some of my guitar back in my in ears.
  10. Short of getting a DT25 or DT50, you can also look into the Freidman FRFR cab, or doing a power amp+cab setup, ala a Carvin T100 & the 2x12 of your choice. I have a Carvin AG100 Acoustic amp that I'll drag out every once in a while and just insert into the loop return, going directly to the power amp section of the amp. It's worked out good for me so far. Another venue that I play at from time to time has a Drive 2x12 combo there that I do the same thing with. I'm likely going to go the Carvin T100 route and get my own custom 2x12 cab made from Mojotone, basically a Marshall Bluesbreaker cab with Fender Tweed appointments as I'm very fond of that look. I haven't settled on a speaker choice yet, but am toying with the idea of paring a Celestion Vintage 30 with a Celestion EVH.
  11. I've had my HD500X for just under two years, and I am still loving it. Before that, I had my XT Live with the Metal Pack for 8+ years, never had a problem with it either, but I found that the option of Dual Amps and the addition of the H-3000 modeled harmonizer were important features that I had missed since the old days of multiple rack components, like my ADA MP-2 preamps (one for clean/one for dirty) to do the "morph" preset (Back/Clean - Forward/Crunch) using the expression pedal. That being said, I've been doing this for 35-ish years, and have never had a problem getting good tone. Some items take longer than others, but the ears do the work more than the gear. I am thoroughly pleased with my L6 gear.
  12. Freidman Jerry Cantrell amp. Eventide H9 pedal for modulation/delay effects, ie; chorus, harmony, digital delay Dunlop Jerry Cantrell Wah. My self designed/home made TFS7 guitar.
  13. I changed from Big User to Performance mode as you suggested. didn't save. powered off. powered on. opens to Performance Mode. switched it to Big User didn't save powered off powered on opens to Performance mode my preference is Big User, so I switched it to Big User didn't save it powered off, powered on opens to Big User, changing banks and presets remains on Big User.
  14. Funny, it's working for me. I changed it to performance mode, hit save. Powered down, powered back up, it's in performance mode, no matter which bank and/or preset I hit.
  15. Get it to the view you want, then hit save, then power down. When you power up again, it should be defaulted to your new selection.
  16. I'll take the modelling in a pedal like the 500X straight to FOH over my old 20 space rack & cabs any day. It's more powerful than my old rack, and the price differential of $400 vs $12,000 is easy to decide upon. I get my monitor mix via IEM's in stereo, the SPL on stage is lower giving FOH far more control to give a better mix. There's less gear to haul. I'm down to just my guitars in their cases, my HD500X & Wireless plus a couple of other things in a pedal board case, and a gig bag. Modelling passes the blindfold test more often than purist corksniffers want to admit, but it calls out their B.S. which is a hit to their ego. Either way, it's the truth, It takes a good ear to replicate in modelling, but if you are a tone chaser with any degree of technical skill, the investment of time can pay off immeasurably well.
  17. The only exception to Shredjsx's comment might be the usage of a very well made Stereo D.I., such as the Radial Pro D2, but I can't seem to find a reason to use one as the 500X essentially has 2 D.I.'s in the form of the XLR out's. If you have your routing setup appropriately, you should have independent signals going to each of these Balanced and unbalanced outputs. Your balanced outputs should be usable as D.I.'s, and your unbalanced should allow you to either go to the front end of a guitar amplifier, or insert to the return of that amplifier's effects loop, i.e.; amp on one side of the stage receiving output A from the 500X, and the amp on the other side of the stage receiving output B from the 500X.
  18. I have banks of live presets, and I have banks of studio presets. They're very similar, with the distinction that the live ones are final tweaked with the amp. The studio ones are all tweaked against backing tracks, even if the basic preset was originally downloaded from Custom Tone. Custom Tone is not going to provide the perfect preset for everyone, too many things are subjective, with the top one being the user's preferences. It's a starting point, no more. You'll still have to tweak to taste. Your bass players tone, and the tone of your drummer will be different than mine, and each of us have to make all of them work in the context of a band mix.
  19. Bogner Uber for my Crunch/Leads. Vox AC 30 for my Cleans. a Dualtone preset containing a Marshall and a Fender Blackface for my "SRV" tone. All of my tones are up on Custom Tone.
  20. +1 on this. I have a preset for "D Standard" and another preset for "C#" for doing Black Sabbath stuff. Just put headphones on, or make sure that either your studio monitors or your amplifier are loud enough that you don't hear your strings acoustically, otherwise it'll mess with your brain.
  21. I would presume that it is possible, Garbage uses the rackmounted HD's, and does the same thing, so does Periphery with their backing tracks and click, with their Fractal units. Being that the 500X is in the HD family, I would presume it would be possible, I just haven't personally explored it. Here's some tutorials on the Sevenstring forum: http://www.sevenstring.org/forum/live-performance-stage-sound/294223-rig-rundown-band-rack-continued.html http://www.sevenstring.org/forum/general-music-discussion/302235-does-anyone-know-place-user-who-makes-backing-tracks.html http://www.sevenstring.org/forum/live-performance-stage-sound/300009-backing-tracks-multiple-outputs-logic.html http://www.sevenstring.org/forum/live-performance-stage-sound/301675-i-have-axefx-backing-tracks-laptop-what-else-do-i-need-play-live.html
  22. Any sound engineer who has had professional training already defaults to the board being "zero'd" or all knobs set to their neutral positions. That being said, most sound guys in dive bars & clubs, are not professionally trained. They just made the stereo sound good one day and the bar owner promoted them to the club soundman, and it went their head.
  23. FlyingSquirrel

    500X

    I'm very content with mine too, having upgraded from the XT Live with Metal Pack after 8+ years. In fact, I'm no longer using POD Farm for recording anymore as the 500X serves me quite well, and I don't have to go through the redundancy of copying my presets into POD Farm.
  24. I do something similar, but in my DAW. I always create my presets based on my "perceived" needs, but then make the final changes/edits against backing tracks in Pro Tools. I'll tweak everything from effects paremeters, mix levels, boost level for solos, eq, up to the final preset output level. I have a few banks of "Control" presets, that I start from and never change, then I copy them according to song needs to different banks, make the edits in their new location. I use song titles for specialized functions, like presets with effects that are song specific, or I'll use a title like "Stock Crunch" or "Stock Clean" or similar. I keep all of my presets backed up on the cloud, my iMac, as well as a thumb drive for any "on the spot" saves or uploads that need to take place. 9 our of 10 times, FOH only has to set up a unity gain signal, give me what I need in my monitor or "in ears" and I'm good to go. They seldom do any final eq adjustments, and if so, it is to make it work best in that room, but once they've done that, all of my presets usually work for that room.
  25. I would start by looking on Custom Tone, and specifically targeting the presets with the highest ratings. There really are so many to choose from, but the beauty is, you can try downloading dozens and dozens of them (I'd recommend creating an "audition" folder) and when you find one that nails it or comes close with minor tweaks, then save it.
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