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Everything posted by FlyingSquirrel

  1. I apologize for the confusion, please allow me to clarify. You could use 4 tracks in PT for the "A" output on the UX2, and 4 tracks in PT for the "B" on the UX2, say for instance, for a stereo tracked quad wall of guitar. For each track armed/recorded in PT, you can eq slightly diffferent, add 4-12ms of delay for space, panned all over the place etc... I did not mean to imply that you could record 8 "incoming" tracks simultaneously with the UX2, but rather "8 in PT" using the 2 UX2 outputs. This was just an example. Now, if you had the discontinued UX8, you could conceivably record 8 discrete tracks simultaneously, but as I understand it, only 2 at a time could be discretely processed through POD Farm, the rest would have to go direct from the UX8 inputs to the PT track, appropriately selected. At least, that's what I've been told when I've asked the question.
  2. Godspeed. Congrats. One thing is for sure, if you invest the time, you'll reap well. You'll learn so much more about how an amp works, and the relationship between the guitar, preamp section and power amp sections of the amp and how the delicate balance of each contribution only make the final outcome to be more wonderful. Tubes react in unique ways. Moreso, preamp tubes react their way, then power amp tubes react their way, and finding that perfect balance of just how much your preamp tubes drive your power amp tubes on a full on tube amp is what gives each amp its character. In modelling, you have even more options, and this is one of the things that I think creates a bias (no pun intended) against modelling technology, but if you invest the time to learn how these relationships work with one another, I think you'll find inspiration in creating unique combinations by tweaking the power amp modelling sections alone. This is where the DT stuff shines in my opinion.
  3. On each track, you have to identify which output on the UX2 that you are using. For example, in theory, you can record let's say, 8 tracks of guitar simultaneously from the UX2's two outputs, and process them differently.
  4. There are other factors as well. Have both of you set up tones that don't step on top of each other? Do each of you sit in your respective frequency ranges independent, rather, complementary of each other? Are both of you at a relative volume, not squashing the other, hearable just over the drums? What about the room you're playing in? What is it's resonant frequency? What is the saturation point of the room? Are both of your cabs aiming directly towards a wall? Has the room been acoustically analyzed and appropriately treated? It's not just the gear, everything in the environment is applicable.
  5. +1, and I'd recommend the Carvin TS100 for doing so. Stick it into a 2 space rack, & you're good to go. Otherwise, just plug into the return of any other tube amp, but I think the first method is better and less wasteful of the rest of a tube amps resources. The TS100 has 4 12AX7's & 4 EL34's, can be ran stereo 50w/50w or bridged for a mono 100w. The other option, and probably more favorable among Line 6 disciples, is The Dream Rig sans the Variax. This is also quite powerful, and far more editable as far as the power amp section is concerned than even using the very powerful & tone purist happy TS100. With the DT series amps, you can adjust bias/hum/etc of the power amp section from the HD Edit panel.
  6. Best thing to do is open up a support ticket. It's best to get issues like this resolved at the source as the forum can seldom help in this unique situation. I had a similar issue when I recently purchased an iMac. I called them on the phone, and was completely resolved in about 10 minutes.
  7. Got your site bookmarked, and you'll hear from me directly. Thanks for making these available, and for the time and effort in R&D to do so.
  8. +1, can't stress this enough. Leave yourself some range to work within. Leave your Master at that 2 o clock & only adjust the preset volume if the preset volume is the only thing keeping you from consistent volume from preset to preset.
  9. Even when creating your own custom tones, you're never going to know if the volume between each preset is consistent with each other until you either rehearse with your band, or play each preset against backing tracks from your DAW or other playback device. I create all of my presets this way, and then finalize the volume of each the same way, that way when I go to change between presets, or select an effect on/off or solo boost on/off within a preset, that it mirrors the consistent volume of the recorded tracks. To expect that any preset downloaded or exchanged will come with the volume levels exactly where you want them is an unrealistic expectation. There may be exceptions to where they come exactly as you need them, but it is rare. You have to realize that each person created their presets with their instruments in there own environment according to their own application. When exchanged between parties, some personalization will be necessary.
  10. I've used other modules with my old PK5, thinking about doing it again but with my iPad-1, or perhaps its time to upgrade to an iPad Mini. Just curious about anyone else's experiences, quirks, bugs, latency, etc...
  11. I experienced something similar when installing it to my iMac. I called customer support, found that I had an older version of Monkey installed. I installed the latest version which also uninstalled the old version, then ran the updater, and then it appeared and is working splendidly. After that, I copied the folder containing my personal presets from the PC to the iMac, and now I'm good to go on both machines.
  12. I'll be using some tweed swatch images for my tweed custom printed label, and some VH striping for the Mod one.
  13. Great news, thanks for sharing! Looking forward to ordering mine!
  14. I'm quite satisfied with mine, and I used to tour with a 20 space rack. This is far more powerful that my 90's "fridge" rack. I can be a bit of a DSP hog too, with dual amps, morphing between a clean rig & a crunchy one with effects included. No complaints here. Mine works great for gigging and recording.
  15. Go to CustomTone and give my Crunch tone a try, it's a Bogner Uber and I've had good results with it. I use the same tone live too.
  16. You can delete presets (files) from the folder that contains the presets, and then, only send to the unit the presets that you want to have there. I started out with my HD500X with 0 presets on board, the editor came with a gazillian, and I only loaded onto the unit what I wanted.
  17. Additionally, each harmony is set to its own respective FS. FS2 is one of them FS3 is the other. Preset is defaulted with them "off" so you can toggle them in independently of each other. FS4 is a Solo Boost + Delay. If memory serves, nothing is assigned to FS1, and the expression pedal is just a regular volume control until you toe switch the wah into use. Here's that preset in use: http://line6.com/support/topic/8859-some-patriotic-amp-modelling-on-my-hd500x/?hl=star+spangled+banner
  18. If you are assigning more than one pitch assignment, and panning them to either extreme, I've found that it is better to just create a dual tone, and have each one independent of the other. Just be mindful that the overall preset will be about +6db, so you can adjust it back in the mixer. You can find an example of this on Custom Tone, look for my preset "Natl Anthem". It's a Bogner Uber on each side, with a pitch shifter ala H3000 set for A Maj with a -3rd on one side, and +3rd on the other. I run all my presets in mono, so you'll have to manually pan Amp A to one side, and Amp B to the other in the mixer when you dial back the output by -6db.
  19. Line 6 dimensions.xlsxAs far as cases go, I created an excel spreadsheet using some found on on the L6 website, but with case options. See below for its attachment. I added the tab about a year ago when I was looking for one for my XT Live, but also wanted to make sure that it would fit my eventual and current upgrade to the 500X.
  20. For what it's worth, I have a preset called "Morph" available on Custom Tone for download. Basically, crunch is set with the expression pedal rocked all the way forward, rock it back, and your morph to clean. It's like doing a crossfade on a mixing console, you can transition quickly without the switching latency that would normally be experienced when changing programs (presets), or you can transition slowly building up or breaking down a piece from one extreme to the other in a very musical way. The FS4 switch within this preset is a "solo" switch, providing a slight boost and adding in the "send" to the Delay. When you turn off the FS4, any signal sent to it prior to being switched off continues to trail and fade out.
  21. I do the same thing, the same way, minimizing anthing else in the chain, just the pitch glide into the amp & that's it. I use my "go to" tone and it works perfectly, largely in part I think that the DSP isn't getting overburdoned with huge amounts of multitasking responsibilities. I use it for Eb, as well as D-Standard tuning with stellar results.
  22. Quality over Speed. It's worth the wait for us to get it right the first time they're mailed out. We appreciate you even making them available, thanks a bunch.
  23. The Whammy function on my 500X tracks better and can be customized far more than my Digitech Whammy pedal did, and it does the Drop function quite well too.
  24. On the rare occasion that I'm not running D.I. only, I will connect the line level 1/4" output to the return of my Carvin AG100D Acoustic Amp. I have globally set my HD500X to Mono so it doesn't matter which of the 1/4" jacks I use. As an acoustic amp, while it's not completely a FRFR amp, it's better than running just into another guitar amp, and by going through the return, I'm really only hitting the power amp section of the amp.
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