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Found 32 results

  1. I have been using my POD Studio UX1 to record electric guitar DI with great success (or at least with very few technical issues) for the past few years. More recently I have ventured into the scary world of recording acoustic guitar and vocals. For this I have been using a rather low-budget dynamic microphone (Superlux TOP-258) running into the UX1 XLR input. It has always frustrated me that I cannot seem to get sufficient gain when recording my acoustic guitar this way. I have cranked the mic gain rotary nob all the way, hit the +18db boost button in POD farm, etc. I previously used Cubase to record, but have since switched to Cockos Reaper. Needless to say, the low mic gain issue persisted despite the DAW switch. Suspecting that the low gain might have something to do with my low-budget mic, I decided to invest in a Shure SM57 (the fact that I use the word "invest" in this context should give you a clear indication of my budget...), hoping that results would improve. To my dismay, however, the low mic gain issue not only remains unsolved, but actually seems worse with the SM57 than the Superlux mic. I feel somewhat at a loose end. I have seen reviews of the SM57 where it is plugged directly into some USB audio interface (just like I do with my UX1) and the artists manage to record acoustic guitar with tons of gain (or so it seems from my perspective). To make it clear: I am running the SM57 directly into the XLR input on the UX1 via an XLR-XLR cable, gain is turned up 7/8ths of the way, directly into my DAW (any more mic gain and the white noise becomes rediculous). The gain when recording vocals (using only a pop-filter between the vocalist and the mic) is acceptable, but still not fantastic. The noise to signal ratio when recording my acoustic guitar, though, is atrocious. Can any one offer advice as to what the problem may be? Could it be the XLR cable? Could there be something worng with my UX1? Is the amount of maximum amount of gain I can hope to get out of the UX1 simply to little to ever be able to record acoustic guitar with a dynamic mic at an acceptable signal-to-noise ratio? Any inputs are appreciated, though may I kindly request that you refrain from suggestions that I purchase a condenser mic (I have noted a trend on these forums to recommend condenser mics as a sort of panacea to any type of mic gain query, even when the purchase thereof is not an option (for whatever reason) to the OP. Given the UX1's lack of phantom power, purchase of a condenser mic would in any case neccesarily imply purchasing a different audio interface, in which event I may as well consider getting an entirely different interface with better preamps and, more importantly, more input gain than the UX1.)
  2. I just recently updated my Spider IV 150 to current specs and am exploring the new Gain effects. One thing that has always bothered me with modeling amps is the slight delay when switching amp models or channels (from A to B etc.) It occurred to me that with the new Gain effects, you don't have to switch channels to switch to your dirty sound. It's almost like the difference between switching channels and stepping on a distortion pedal (which I assume is what Line 6 was going for). My only issue is that the Gain stomps just don't quite have the same feeling as the amp models with drive cranked up. I've found that Tube Driver gets pretty close for a good rock to metal sounds, when compared to the cranked Class A Red or Insane Red. The Screamer is nice too but, I don't know how to describe it... I suppose what I kept running into is two conflicting EQs between the amp model and the stomp model (which just took time to find a good balance or just pick a new FX1 option) and a difference in output level, the cleans always seem to be more full and a little louder then when I kick in the Stomp effect. In the end I guess what I'm asking is if other people run into this to, how they deal with it, how they use the Gain effects, if anybody has some tips how to apply those effects along with channel volume, gain, drive etc. and lastly do people prefer to switch from A to B for clean/dirty or use the effects? Thanks!!!!
  3. The various amp models on the Spider IV give different distortion sounds, and you control how much distortion via the drive setting. But separate from that, FX1 gives a range of distortion effects options like "screamer" and so on, and you can control the amount of this distortion with FX1's "gain" setting. But how do these two interact? I don't mean that technically... I don't think... I mean in terms of modeling different tones do people generally use one type of distortion or the other (i.e. amp or FX1), or both together? It seems like most of the factory presets with distortion use both, but that's confusing to me (so many permutations!). If the amp models are meant to mimic various types of amps with their own distortion, why add the FX1 distortion effect on top of that?
  4. Hello, I own an old Toneport GX (with the red color) and POD Farm 2. I haven't tried yet as I did not solder the right cable but, will I have proper input levels when connecting a dynamic mic? There's no gain button on the GX and no visible input gain button in POD Farm :( .
  5. In order to get a feel for the signal levels suitable for the HD500, I've made a few measurements of the gains available from the different inputs to the various outputs. I've also measured the gain of all the FX. A small Excel spreadsheet containing the data can be found here (unfortunately, I can only upload a PDF version of the data, which I've done here). A brief summary is shown below: All measurements were made at 1kHz with Master Volume = max, S/PDIF gain = 0dB, and Input2 = Variax (although this didn't make any difference because I had Inputs 1 & 2 panned hard Left/Right). Guitar input pad = -5.2dB compared to normal. 1/4" (line) output has 6.1dB more signal than 1/4" (amp). Aux & Guitar (normal) have the same gain structure (except Guitar has programmable input impedance). Guitar (normal) input to 1/4"(amp) output has 4.9dB of loss with no FX, no Amp, and Mixer = 0dB. Compared to 1/4" (amp) output, the XLR output is 9.4dB less while the phone output is 15.4dB more. Compared to the Aux/Guitar(normal) input, Mic (min gain) has 6.2dB less gain while Mic (max gain) has 38dB more gain. Aux/Guitar(normal) input clips at 0dBFS (measured at S/PDIF) with 8.3Vpp Mic (min gain) input clips at -1.1dBFS (measured at S/PDIF) with 14Vpp Mic (max gain) input clips at -1.1dBFS (measured at S/PDIF) with 91mVpp CD/MP3 input clips at various levels near 20Vpp, depending on which output is used (XLR, 1/4", or Phones) By far most of the FX have 0dB of gain, but there are several exceptions (e.g., Graphic EQ = 2.9dB, Tape Echo = -5dB, and others). FX were measured with Mix=0% (to eliminate comb filtering effects) and Gain=0dB (usually). The PDF files contain the whole list. Using some of this data you can see the clip level is essentially set by digital clipping, although the mic input stage only gets you to within 1.1dB of fullscale (close enough to call it fullscale in my opinion). The output stages will not get close to their clip levels (unless you use the CD/MP3 input which bypasses the digital engine). That is, it's sufficient to look at the S/PDIF signal to keep your signal below fullscale. You don't have to worry about clipping the input stages. You also don't have to worry about clipping the analog output stages. I hope you find this useful in optimizing the setup of your equipment. IO Gain.pdf FX Gain.pdf
  6. I've been reading about the volume issues with the DT50 212. Too loud, etc. Before I say anything else its the real deal amp. I'm blown away with the HD500 integration. The Solo models are to die for!!!! Here's what I do to deal with volume issues: Each amps output can be set to the expression pedal without using DSP. Watch for how to do this. I've taken my amps/tones and used this technique to lower the overall volume (around a maximum value of 50-60) while keeping the master volume on the high power position (pushed in). Keep the master at about 12 o'clock (or what you like) and use the output settings to level each amp (patch) to each other and to lessen the output. This can be done with dual tones as well, just set both amps to similar parameters, and same expression pedal. Do you lose sound? At 50-60 ... no on most amp models. Some amp models lose slightly, but low volume is merely, usually practice. Is this the perfect fix? Probably not. However, your amp/patches will be leveled, properly loud, and get full use of channel volume and master volume mixes. When playing live a quick touch on the master can work wonders. Let me know how this works out if you try it. His advice (see link above) for wah pedals is spot on too. If its too loud ... move! LOL Happy jamming! bribrew1968
  7. Vetta II Post Delay Mix Issue On some patches with POST DELAY active, you will notice that if you turn DELAY off/on, the perceived mix will jump to %100. Please follow the steps below when the problem patch is active to resolve this issue: Select FOOT CONTROL. Scroll to Page 4 that say PEDAL 1. Use the black knob under DEST to assign PEDAL 1 to a different parameter (an fx you are not using on the patch), Go to page 5 and if PEDAL 2 is set to POST DELAY MIX, follow the same instructions above. Select SAVE twice to save the changes. Gain/Drive Reversal When Using Line 6 Edit Drive and gain for distortion effects are reversed when loaded into Line 6 Edit: After loading a tone or changing the model selection, the drive and gain values for distortion effects are reversed when comparing the amp display to Line 6 edit. When adjusting the drive or gain using Line 6 Edit or the amp, the correct control moves and jumps to match the value of the one you are moving. This effects all distortion effects, and also happens when loading a tone.
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