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Found 41 results

  1. Rachmaninoff

    HD500X: outs, headphones & master vol

    I use the UNBALANCED OUTPUT jacks to send my audio to the mixer, and I'd like to use the PHONES jack with headphones so I could hear myself. According to the manual, the MASTER vol controls all the levels: if I change the PHONES vol, the UNBALANCED OUTPUT vol will also be changed... is this the way it works? If so, the headphones are simply unusable in a live situation, since I have to redo my mixer level every time I change my MASTER vol! The X3 Live has a way to deal with this, can't the HD500X? Did Line6 remove this feature from a supposedly more advanced unit?! :o :o :o
  2. Which Headphones does Line 6 recommend with the HD Series? I read somewhere they should be 250 Ohm impedance. Is this right? Do headphones sound different than the recording? Can the same phones be used on the X3 Pro?
  3. I am using Pod HD500x and Audio Technica M50x headphones. If I connect my headphones directly to the Pod HD 500, the sound I get is amazing. However, when I use the Pod for recording with USB and listen to the sound of he monitor of DAW with PodHd500X being the output, it is not that great and the quality drops a lot. How can I get the sound of Pod HD 500 (the one I get directly from headphones) into my recording? I can't seem to prevent the quality from dropping.
  4. thanasisk

    HD 500 X - strange headphone issue

    Hi all, I recently bought a Pod HD 500X - however the only good sound I can get out of it is if the headphones jack is NOT all the way, about 3/4 of the way. Is this normal? I took the unit to the shop and they told me that everything is fine and I should look elsewhere in my signal chain.
  5. As the title says...I have a nice pair of Bluetooth headphones and would like to know if their is a way to pair them to the Amplifi TT. I was hoping this might be possible as the TT can stream to a receiver or other audio device that can receive a bluetooth audio stream. I just don't know how to pair them as neither has an interface that would allow me to put in a pin? My fear is I'll have to purchase something like this (Click here).
  6. DIEGUITOELMALO

    Headphones volume

    Hi everybody, I have a POD HD PRO X connected to an iMac with Yosemite. I´m using ProTools 11 too. I´d like to decrease the volume of the speakers without modifying the volume of the headphones and i´m not able to do it. Could anybody help me? Do I need something else? Thank you very much
  7. Hello, There has been discussion about headphones and the required impedance. I recently acquired an hd500 and was a bit skeptical about the requirement of high >300ohm impedance headphones. I had a Sennheiser Amperior hedaphones, these are quite neutral, closed back, easy to drive low impedance headphones (18ohm). They cost about 150-200 euro. When paired with the hd500 I thought the sound was not bad, but the limited soundstage of closed back headphones made the sound quite congested. The worst was that I got random disgusting noises that I thought were caused by ground loops when connecting the pod to the computer. Then I bought a Sennheiser Hd600, these are quite neutral too, but are 300 ohm and quite difficult to drive and open back. The sound now is really open, like if you were listening to an amp in a room, and best of all, there was no trace of the disgusting digital noises I had with the Amperiors. I bought them on amazon for 220 euros- I tested with my IEMs, vsonic gr04, that are quite neutral-middle centric with low impedance, and I got the noises back. Although they have greater soundstage than the Amperiors, they sounded fatiguing and congested too. So, IMHO, if you have to choose headphones to use with the POD’s HD: · Try to get high impedance headphones as Line6 recommends. · Open Back headphones will give you more open sound and a feel closer to playing through an amp. I hope it helps someone Nestor PS: excuse my English, it’s not my native language…
  8. HOLA! I am looking for ways to create sounds in my hd500 to be as real as possible. I mean, I want to be sure to be listening to the right thing. It happened that after editing a sound (I thought right) then I found very different in other audio systems. I know, it is normal that the systems audio sound distinct from one enclosure to another, even more if they are different systems. The aim: Same possibilities to create a sound as if a real amp in my house. Which is the best? Headphones? Professional Monitors? Home monitors? Another thing? Thank you very much to all!
  9. I've crafted a tone on my hd500x while running it through a power amp and cab. The tone sounds really crisp, tight and nearly devoid of noise. However when I run the same preset through my headphones it sounds really high in treble and isn't as clear as when I run it through my PA and Cab combo. What I'm asking is how to fix the problem as it translates to when I'm recording as well and why it's happening as I'm utterly clueless on this.
  10. Hi, I appreciate anyone who takes time to answer as I am a complete newb. To be totally honest, I don't even know that I'm posting in the right subforum. I have a Line 6 GX which I use to plug into the computer and play guitar into my laptop. It works beautifully except that I can't hear myself playing without headphones. I've been looking all over but can't figure out a way to play directly into my laptop's built in speakers. Is it possible? If not, is it possible to buy separate speakers that can plug into the headphone slot?
  11. good evening. as in object: could somebody tell surely what's the impedance at POD XT headphones plug? i have a 32 Ohms set and the sound quality is horrible, so I'd need to build an impedance corrector cable and to know precise values to do that. thanx, bye
  12. Good day , The title is not really the most appropriate ...but I didn't know how to call my problem , so allow me to explain . I connect my POD HD to the PC via USB and use it as an external sound card , I use it with my DAW to record . I set up my effects on the POD HD and my signal , with effects and all , is fed into the DAW . To the before-mentioned signal , I add effects directly from the DAW and I want to hear the sound in REAL TIME as I am playing . But when I want to hear it in real time , I hear the signal doubled : The RAW SIGNAL that is fed into the DAW from my POD HD and the RAW SIGNAL + DAW EFFECTS both come back through my headphones or speakers. Is there a way to mute this RAW SIGNAL , so I could hear only the signal that comes back from the DAW ?
  13. Morning guys, what would be the best recommended headphone to plug in the back of Spider IV 150? I want high volume and fidelity. I don't want the headphone to protect my ears, I can do it by myself!
  14. hello everybody. could anybody help me with pod xt headphones' out? i'd need to know 3 or more between the following: the tension/voltage (V), the current (A), the impedance (Ohm), the gain (dB) and the power (W) which the headphone signal comes out. i have to improve the headphones audio quality so must decide if to buy a little amplifier (Behringer Micromon MA400) or build a simple passive custom impedance adapter. thanx.
  15. Just purchased the Sonic Port, plugged in my headset and the volume is extremely low. Does the headphone output need to be pre-amped? That doesn't seem to be very portable. BTW - I have tried 4 different headsets and they all do the same thing. I have also traveled down to Guitar Center and tried out one of their new ones with the same result. I just need some direction. Shep
  16. Have you ever had this happen to you? You've spent the afternoon getting all your sounds perfectly tweaked for tonight's gig, but when you get there and start playing, everything sounds really..... not right? Things sound overly bright, but also a little 'woofy', so you have to fix things on the fly as the night goes along and silently curse your amp. The next day, when you set things back up at home, you go back to re-tweak your sounds, and suddenly they sound okay again. Are you going nuts? Have your ears suddenly lost it? Is there a problem with your amp? Don't worry, they're both fine; you've just been bitten by the Fletcher-Munson curves. "What's this?", you ask. "I thought Thurman Munson was a catcher for the Yankees, not a pitcher, (although he hit the curve pretty well) and who the heck is this Fletcher guy?" Well, aside from the fact that the baseball trivia part of your brain is functioning just fine, there's a whole other story going on here. Although it may look a little daunting (especially that graph you see looming below), it's really pretty simple, so just bear with us a moment for the inside poop. Fletcher and Munson were researchers at Bell Laboratories who demonstrated, in 1933, that the human ear (and brain) perceive different frequencies in a shifting manner dependent on level. Their measurements showed that your ear is most sensitive to frequencies in the range of 3-4kHz, and that frequencies above and below those points must be louder, in absolute terms, in order to be perceived as being of equal loudness. They also showed that the amount of increase of loudness in those other frequencies to achieve that perceived equality varies depending on what the overall SPL (Sound Pressure Level), or sound intensity, is in the first place. These discoveries helped kick off a whole new area of study called 'psychoacoustics' and brought you, among other things, that little button on your stereo labeled 'Loudness'. When they mapped our these curves (also known as 'Equal Loudness Contours') they looked something like this: When you look at these curves, you'll notice that when the 3-4 kHz range is at 0dB (or just barely audible), frequencies at 20Hz (about as low as you can perceive a distinct tone) have to be raised over 60 dB (which is 64 times as loud. Remember that decibels are measured on a logarithmic scale, so this is also 1000 times the power) to be perceived as being the same volume. On the other hand, when the base level for our 'home' frequencies is raised to 80dB, the lowest frequencies only have to be raised 10dB (or be twice as loud) to be perceived as being the same volume. Now what does this mean to you as a guitarist? Well, as we alluded to above, you'll notice that the curves flatten out substantially as you get louder. This means that the sounds you tweak up in your living room will have the low and high end boosted substantially (the infamous 'smile curve') to make those frequencies sound equally loud to the midrange frequencies to which you're most sensitive. When you take those sounds that you designed at around 60-70 dB (which is your basic living room, not gonna wake the neighbors or overly annoy the family level) and turn them up to the average 90dB+ stage levels, those same high and low frequencies will suddenly seem overly exaggerated making everything sound simultaneously painfully bright, yet woofy (kinda like a bad wine tasting description). Not only that, but those midrange frequencies (where the fundamental information about just which note you're playing live) are being overwhelmed by that, now excessive, high and low frequency information. So what's a fella to do? Well, if you can manage it without driving everyone crazy, studies have determined that the optimum level for reference mixing (which would apply to sound design as well) is about 85dB. This is loud enough to start flattening out the curve, but not so loud as to seriously hurt yourself (unless you do it for 14 hours straight) Get yourself an inexpensive SPL meter, set it to 'A' weighting (which shoots for the equivalent of the human hearing sensitivity) crank up your amp so you're averaging 85dB, and tweak in your patches. Of course, 85dB is, to put it in easily understandable terms, 'pretty darn loud', so this isn't something you can do a 2 AM when you can't sleep 'cause you're worrying about sounding just right for the next gig. The next best thing is to schedule a rehearsal with the rest of your band where you can crank it up, and make your final tweaks while the rest of the guys are there cracking jokes about obsessive/compulsive guitarists. Your third option, and probably the easiest, is to study the curves above carefully, and remember that if your sound is a little mid-heavy and seems a little bit dull at living room level, it's probably going to be about right when you crank that sucker up live. Here's a potential approach. Next time you're tweaking up a tone or two, make two versions; one that sounds right at living room levels, and one that you think, using the stuff you've learned here, should sound about right at stage levels. When you play live, leave the first one alone, and tweak the second one (if necessary), then go back the next day and compare the two. Pay attention to how they differ from each other. Now try and make a couple more, using the same process. After you've done this a few times, you should be getting a pretty good feel for just what you'll have to do to get 'em right the first time. Presto, you're one step closer to that elusive Ph.D in Tone. Now, if you're the type that really wants to dive in and get some serious information overload, you might want to try going here. This is one of the coolest online reference sites we've found in a long time, courtesy of Campanella Associates, an acoustic consulting firm. It's a fairly complete audio text and tutorial, that will give you more than you thought you needed to know (but not more than you should) about audio, acoustics, and sound.
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