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Found 25 results

  1. sliberty57

    Stomp 2.80 whistle/feedback

    I updated my Stomp and I’ve been playing with the new 5c3 Deluxe model. I’ve noticed an occasional higher pitched feedback in passing between sounds. Has anyone else noticed this? Is there a solution?
  2. Hey guys. I am using 7 xdv75 with headset mics in a musical. They're all great, but ONE of the packs has feedback...all the time. After full troubleshooting - I know that it is just the pack. Anyone ever have this issue? Love
  3. Jimmy_vid

    Feedback Generator for Helix

    Hi ! I've discovered a Digitech pedal, that could be really intersting to add into Helix. The FreqOut creates natural feedback, and I really miss this on the Helix... am I the only one ?? Do you know if it's possible to create this kind of fx ? Or Line6 friends... why not to add on the Helix on next update ?? Regards !! Jimmy
  4. This topic is for AMPLIFi TT/FX100 users to provide suggestions and notes on things they would like to see improved with this effects unit and related tools. *****This is not a thread for complaining; provide your feedback with respect and clarity.
  5. I noticed a lot of feedback in a few of my tones. After some messing around I found that my POD is creating an awful, almost ground loop type feedback that is constant no matter what is plugged in, what output I use, or what outlet it is plugged in to. I have tried it at a friends house, and using a ground lift switch (60hz) feedback eliminator. Nothing seems to have an affect on the terrible sound that is almost louder than my guitars input. At this point I am 100% sure it is the POD and not dirty power, any pedals, cables, or proximity to my power conditioner. I need help, as this is driving me insane. Any suggestions, or fixes are much appreciated.
  6. guilleguitar

    My Firehawk FX Feedback

    I have been using the Firehawk FX for about two months now and wanted to share my feedback on it. Overall I am happy with the product, here are the good and the improvement opportunities: 1. The Good: - Overall good product, work as advertised. - The phone remote control is very convenient and also faster than direct editing on the pedal controls, even compared with other units (previously had an Pod XT Live). - I like the sound. Many alternatives with good quality, not in par with the top of modelling (Bias FX, etc.), but good anyway. - The build quality seems very good, as always on Line 6 products. 2. The Improvement Opportunities: - Modelling limitations. I read the firehawk has the same DSP than the HD 500X, so I can not understand the why of the limitations. Only three blocks for effects. The fixed compressor and EQ blocks seem like a waste when I am not using them. Why not include the fixed compressor, EQ and reverb as effects and then we would have six effects blocks available. Just for the sake of versatility. Also there is no dual amps and paths. I know the hardware is capable. - PC control app. I know the usual responses in this forum like "but doesn't it work as advertised?" or "there are those who see the glass half empty...", but really, POD has it, HELIX has ti, so it is what we expect from Line 6 (besides the big label in the box that states MAC and PC besides IOS and ANDROID). In conclusion, very good product, as always from Line 6, with aspects to improve (which I know most probably won't be done). P.D.: About the not-so-good aspects, I know they have been already stated elsewhere, just wanted to add that it all looks more like marketing decisions aimed to create product stratification, than say actual technical limitations. This is not bad per se, but I think it undermines the company image, specially for the loyal user base out there, who have got a different picture. Maybe next time they will prefer a product designed by engineers and musicians and not by salesman.
  7. Hey everyone! Need some other people's point of views on the situation in hopes it can be fixed. :P I have a UX1 w/ Podfarm 2.5. I usually use it for voice recordings, no instruments. I've spent a long time editing settings, still unable to get perfect sound for my microphone. I use a lot of noise gates because for some reason there is a lot of background noise I presumed were fans from microphone pickup. I always thought this was weird since this room is practically sound proof, and I can barely hear the fans, but I always shrugged it off. Well today when I was testing microphones I made a discovery. I was in the middle of switching them out when I noticed after I unplugged one, there was still the same fan noise with nothing plugged in... For some reason, there is this constant noise being created in the device. It gets louder when I adjust the input of the device, which is horrible since I need it at the "bad" level for my microphone to pickup anything. I've been doomed to bad audio since I have to turn on multiple noise gates to somewhat block the strange noise, but of course it degrades microphone quality. The background noise is constant with something plugged in or not. I use the device as my entire sound card as well, for input and output. So my question is, can anyone help me? I'm down for any advice you may have, or maybe you guys have presets for your pod farm you think might help that I should try. I hope I haven't been sold a faulty UX1. I'm using an AT20-20 microphone XLR'd to a PHP1 Phantom Power Supply, that is then XLR'd to the UX1 that is then USB'd to the PC. Spec ----------------------------------------------------------------- CPU: FX-4850 4.0 GHz 8 core processor RAM: 16 gig OS: Windows 10 64-Bit I've also left in an audio clip of what the constant noise sounds like, thanks again!
  8. Hopefully someone can tell me where I can find the gate.. When I add gear theres no gate stompbox ? WTH Im getting really bad feedback even with the gain on my irig 2 turned all the way down, volume on the phone is down ,
  9. harpman58

    Minimizing Feedback overall

    Knowing the good reputation of Line 6, I decided to purchase the Firehawk FX. I am not a guitarist, but a harmonica player. I really like some of the presets for playing Jazz, R&B, Blues, etc. I use an Audix Fireball microphone (XLR) connected to LowZ to HighZ adapter (XLR to 1/4" M) into the guitar input. Being also a sound engineer, I can usually control high frequency feedback by cutting frequencies between the 4-6K range. On one particular preset "01A.HD Rhythm", EQ is turned off by default (meaning flat line), but still get quite a bit of feedback to the house when I start to crank the volume. So on this model, I'm trying to maximize output and headroom without introducing feedback. One area to look at might be "Output Levels". I understand what the "Overall" output level does, but a little unsure about "Guitar". I know the majority on this forum are guitar players, but any ideas would be helpful.
  10. Gigged with Firehawk into Stagesource LT3 last night and had a lot of squealing/feedback issues. Slightly confused by this as I tested my pre-sets at stage/gig volume - no problem - after upping the noise gate settings a bit. Perhaps it was the room dynamics....I don't know but thinking I might need to return to my Fender Hot Rod.....shame as I get and like the idea of using FRFR. Has anyone had similar problems and hopefully a solution or two......
  11. I am waiting for my Pod HD Pro and L3T to arrive, and in the meantime, I have been going over the technical documentation to arrive at an optimal setup for my equipment. One thing that concerns me, and one reason I have gone with the L3T is that the environment and setup I have is prone to feedback. I know the L3T has feedback control functions, but I plan to hook up the L3T to the POD HD Pro via the L6 connector and unless I am misreading the block diagram provided in the technical documentation, I am not sure Feedback Control is available on inputs from the L6. The diagram seems to indicate Feedback control is only available via the Line input, and the Mixer Ch1 and Ch2 inputs. Can someone confirm that feedback control is active for the L6 input? I would like to plug inputs into the POD HD for signal processing and play it via the L3T, but don't necessarily want to give up feedback control to make it happen. Any information would be appreciated! Thanks!
  12. Hello everybody, I have a problem with my Pod HD500X patches while using it during a live gig. When I need loud sounds for live situations (master volume at 2 or 3 o'clock) I have feedback issues and I cannot mute strings properly without larsen or high feedback sounds even if I am quite far from my cabinet. I am not trying to replicate a wall of sound, I only need the right amount of volume to be heard over the drummer in a gig in pubs or small/medium venues without cabinet amplification. I know that there are other similar topics in this forum, but all solutions suggested seems to fail. Here is the detail of my configuration: Guitar (Ibanez RG970QMZ) -> POD HD500X -> Rocktron 300 Poweramp (or EHX 44 Magnum poweramp) -> MesaBoogie 1x12 200W Cabinet All my cables are brand new (I already tried to change all of them, without resolving the issue). During gigs I use a mic for the voice, but I tried to turn it off and it doesn't resolve the issue. I already reinstalled firmware and Edit software. Input1 is Guitar and Input2 is Guitar globally set (I have both single and dual patches). Output is set to combo power amp. The problem occurs only with high gain patches (no problem with clean sounds). Here is the patches (generic scheme): Hard Gate -> Screamer (gain around 30-40%) -> (eq eventually) -> Uberschall / Treadplate (gain around 60-70%, channel volume at 90%) -> mixer (pan centered, levels at 0) -> eq -> delay / reverb. As soon as I approach the strings to the pickups it starts the squeaks and while playing I cannot make any pause. I also tried to insert two or three more hard/noise gates in the chain but no changes. If I deactivate the screamer the issue problem persists. The only way to solve it is to lower the patch volume. I would really appreciate any suggestion to resolve this annoying issue. Thank you very much and sorry for my rusty english (hope you understand anyway).
  13. davidsholland

    Old Toneport UX2

    Hi, I've recently upgraded to OS X Yosemite and am experiencing issues with my tone port UX2. I've installed all the latest drivers and my tone port is lit up as if its working correctly. When outputting music through the analog outputs it works fine however as soon as i record enable audio tracks in Logic or even just open Gearbox or POD Farm 2 as standalone i get a huge amount of feedback coming through, even with no instruments etc plugged in. Just wondered if anybody recognised this issue and if they could help? it would be hugely appreciated as cant wait to get back to recording. Regards Dave
  14. vilo1968

    Problem with feedback

    Hello everyone. I have a noise problem. I have my POD HD500 connected to a stereo power amp and 4 x 12 speackers. When we play with my band in rehearsals, to be playing a chord, this is not ringing and then I get feedback. I POD input 1 set to "Guitar" and input 2 to "Variax". The impedance is set will at 230K. My guitar has pickup Bill Lawrence XL500, which are not very noisy. The pickup height is correct. All cables are in perfect condition. It bothers me that I can not play a chord without the feedback appears, and it hurts to have good sustain. I attached my preset. Thank you very much in advance for your help. Sorry for my English. mesa sala.zip
  15. Hello, I've had the Pod HD500X for a few months now and I'm still not sure whether I'm using it properly. I'm finding that I'm getting quite a bit of feedback out of my amp at a high volume in band rehearsal and live settings. I should say that I'm a very plug-and-play kind of guy. The Pod HD500X is the most complicated piece of equipment that I've ever had to work with and I'm fairly undemanding, so I'm probably making some very elementary mistakes in terms of getting the right balance. A bit more about my set up: Guitar (LTD MH417, EMG 81-7 in the bridge) -> POD HD500X -> Carvin TS100 (tube power amp) -> Line6 4x12 (not sure of the model, I bought it with a Flextone head about 10 years ago, has a tweed front). I've attached my main setting here (we play thrash/death metal), but I have some questions about the switches and outputs. Currently, I have my output set to "Studio/Direct" and my quarter out to "Line". This seems to fly in the face of everything I'm reading, but it seems to be the setting that puts out the most volume and the heaviest sound. Could this be causing a feedback problem? Is it simply too much for the amp to handle? If I should move my output to "Stack Pwr Amp" and my quarter out to "Amp", how difficult would it be to achieve the same sound and volume? If you open the file, you'll notice I have two preamps running with an overdrive. The gain/drive on all three doesn't exceed 40% and I try to keep my treble settings reasonably low enough. There are some extra effects at the end of the chain that I almost always never use except for the reverb. While I'm pretty happy with the sound I'm getting at bedroom volume, if I crank the Carvin to about 1:00 with the band, I start to get feedback. So what exactly is the best balance of settings, gain and volume to avoid feedback at high volumes when playing this kind of metal with the Pod HD500x? Please let me know if the file doesn't work or if I've attached it incorrectly. Many thanks in advance!
  16. Alexandre_G

    Pod Hd 500 Feedback Issue

    Hi there folks! I was messing around with my pod hd 500, but i had some feedback problems while rehearsing with my band... When i'm at home, i usually amplify the sound around 65~85dB* which is a casual/domestic loudness. When i am at a live situation or rehearsal, I frequently pull the volume up to something around 95~110 dB, and in this situations I get an annoying feedback (not the nice one usually brought by valves). This problem, though, is not exclusive to the pod. With the Zoom G2 and G9.2tt i had, this also used to happen, although more easily. So i guess that the problem is not hardware, but tweaking. My signal chain in POD HD 500 is: Fassel (Wah Pedal) - Tube Comp - Noise Gate - Treadplate (4x12 Tread V-30 + SM57 on X) - Volume Pedal - Digital Delay (turned off by default) I am using an Epiphone LP Standard. Seems like turning off/reducing compression works for the feedback, but it destroys timbre. Raising noise gate, at the point it already is, would decrease sustain in an enormous way. What can i do? ---------- *deciBel leves considered at 1 meter from the speaker.
  17. Recently went whole hog. Craigslisted the old PA and spent the proceeds and quite a bit more on an M20D, 2xL3m, 2xL2t, and 2xL3s. A lot of good and some issues I'm still struggling with. First, the speakers are fabulous. Gigged yesterday in a bar and tonight outside at a private event. For the outside gig we pumped some Rush Moving Pictures through the speakers to check them out during sound check. No where near maxed, loud as &^%$@# yet still clear and separate. I love the way that record is produced and it retained all that magic space and texture. Almost a religious experience. The people who say these speakers aren't loud enough...wtf? I haven't tried a lot of the newer speakers, but compared to my old system with passive Peavey mains and Yamaha 18 subs, and a refrigerator full of rack gear....no comparison. My old system could get loud but never did it sound just so clear and amazing. We played outside tonight and it only took us an hour to find out that the party hadn't gotten a permit for their block party...because the cops were getting noise complaints several blocks away. Slight volume adjustment and we made it another hour without getting arrested. Volume is no problem, take my word for it. We were no where near max. We've had some problems with feedback that I've started to narrow down but would appreciate some help with. Our lead singer uses a pretty hot condenser mic and he doesn't sing terribly loud. He's a great singer, with a killer voice and range, he sounds loud and powerful, but the truth is he's actually singing pretty soft. Consequently we've been fighting feedback and some ringing/howling from the PA that's just short of feedback but certainly not desirable. At the same time I'm having trouble getting him loud enough in the mains I know part of the problem is our stage volume is just too loud and tonight I made some progress by just lowering the monitors and really minimizing what I was sending to the monitor mixes (3 speakers and 1 in-ear mix). There's only so much I can do as a sound man to control drum volume on stage though, and that seems to set the floor for everyone else (a common lament I'm sure). I also found that that there's a ton of bass coming off the sides of the subs that, depending on sub placement, can really raise your stage volume levels. Set up the subs much farther away from the band tonight and that seemed to make a difference. My other mystery is recording. I've been able to record to an SD card but in two gigs I haven't been able to get a whole song. For some reason, I get the recording going and then it's just stopped for some reason. I have a 64g SD card, properly formatted, and have been able to record a couple of minutes for sound check purposes but when it comes time to record the set, the thing just turns off when my head is turned and I don't catch it until much later. Hoping there's a simple operator error that I haven't figured out yet. Saved setups made night #2 WAY easier than the first night. Hoping that trend continues as the rest of the band figures out how the system works. I'm a musician, not a soundman, and I want to get back to solving more musical problems than technical ones. On that subject, actually used the quick tweak option a couple of times tonight with some good effect. More importantly it let me solve a problem and get back to playing without too much mental gymnastics. So, 2 gigs down, a lot of lessons learned, but I'm pretty happy with our start. Still getting my arms around the M20d, but the speakers have way over-delivered. Long post...sorry. Any comment appreciated.
  18. In a typical live band situation, 90% of the feedback issues come from the monitors with the vocal mics. So easy enough, enable the m20d's feedback suppression on those channels. The question is where does that notching happen? ie, if the feedback loop is between the mic and a monitor, does the notch happen pre-fader so that same notch will disappear from the mains as well or does the notch happen post and per send? Hope that makes sense. I assume the notches are fairly narrow so probably not noticeable if they happen "pre" but I am curious...
  19. I have owned a HD100 Mk II for a little over a year now and I am having problems with it for the second time. The first occasion the amp would run but there was no sound. I sent the head back to Line 6 and the motherboard was replaced under warranty. It was explained the stock motherboards were faulty in the early Mk IIs. This evening I have run into my second issue. I turned it on and got low volume from a clean channel. Moments later, a very loud distorted feedback began to ring through. It was at piercing volume and even after turning the volume all the way down, the amp continued to scream and buzz. I put the amp in stand-by mode to relieve my ears and turned to my computer. All of the sudden it began to scream and buzz even in stand-by mode. I am not sure what is causing this. Immediately I assumed tubes but given the problem persisting in stand-by mode, this must be something else. Any suggestions out there? I think I should have gone with a Marshal stack and Line 6 pod vice the SV. Apparently there is too much going on with a Line 6 head to function reliably. Now outside the warranty, I could use some help before dropping cash on tubes and techs to tell me Line 6 will have to fix it. Regards, Lee
  20. Getting a weird modulated vibrating echo when playing bass through garageband while use the UX1 as midi input. Problem occurs off and on. Tried different cables and different amps through garageband. Some times happens to guitar as well. Using PodFarm 2.56 and all drivers have been updated
  21. I have the Spider IV 30 -- the old model, with just four presets. When I change from one preset channel to another, on some channels I get hum/buzz/static, which disappears when I fiddle with the channel volume/drive knobs. Is this just one of those things that everyone experiences or can I adjust something to eliminate/minimize that? I also noticed that the volume differs from preset channel to channel -- goes way up or down as I switch. Any way to standardize the volume so that it remains the same as I change channels?
  22. jamminforever

    Pod Hd 500, Need Help

    OK, I'm pretty much fed up with the POD 500 I have here. I'm using this thru a Mesa Mark V head for effects only, via the 4 cable method. When the POD500 was setup, it was working great, no problems, except the occaisional distortion that I've posted about before in here. Now the problem is that when I engage the effects loop, via my mesa foot switch, my chorus started sounding warbly, like some weird sonar-radar effect.... Then later I've gotten some nasty loud squeals. Please keep in mind,sometimes it works properly, then it does this... It works just fine again, then does it again..... I'm pretty much fed up with this. Has anyone here had anything like this happen to them? Is there something I'm missing. I love having the 4 cable method... but will the wah sound any different thru the loop? Perhaps I should ditch the 4 cm?
  23. Français Deutsch To switch Feedback suppression modes: Press and hold the FBS button and you will see the colors cycle through, green to yellow to red and back to green. Release the FBS button when you are on the desired setting. RED is for speech. An example is an individual doing a Power Point presentation. This could apply to a couple of people speaking at the same time, but the key is that human speech and human speech ONLY, is coming through the system. YELLOW is for vocal singing. An example would be acapella singing. This could be a group or a solo singer/performer, but it is meant for human singing voice only, with no other instrumentation. You may be able to use this for a singer/songwriter solo guitar and vocal. Yellow can work in this case because guitar and voice are in very similar frequency ranges, but, depending on the material, GREEN may be a better option in that case. GREEN is intended for universal application and should be used as a default feedback suppression setting. Only switch to the YELLOW or RED setting when the GREEN setting is not properly addressing your feedback concerns, or where feedback reduction is more important than audio quality. Using more aggressive feedback suppression settings may cause sonic artifacts in some cases. If you are experiencing undesirable artifacts when using Feedback Suppression: If you are experiencing undesirable artifacts when using Feedback Suppression it may be that a less aggressive setting should be used. Results are typically most pleasing when using the least aggressive setting that is appropriate for the given situation. It is good practice to start with the GREEN mode and only to move on to YELLOW and then RED if feedback is not being properly addressed. Green is for good and green is for go. In the majority of cases, customers should use green and they will be good to go. Pour changer les Suppression Modes: Maintenez enfoncé le bouton FBS et les couleurs parcourent. Vert, rouge et jaune. Relâchez le bouton si le couleur est sur le réglage désiré. ROUGE est pour le discours comme une présentation PowerPoint. Ça fonctionne aussi pour plusieurs personnes en même temps mais attention, seulement la voix est transmet dans ce mode. JAUNE est pour le chant comme a cappella. Ceci fonctionne pour un groupe mais aussi pour un seul chanteur. Cette fonction est seulement pour le chant sans instruments. C’est possible d’utiliser ceci pour un seul artiste avec guitare parce que la voix et la guitare sont des fréquences très similaires mais ça dépend au instrument, VERT est la possibilité meilleure généralement. VERT est pour une application universelle, cette fonction devrait être utilisée comme mode suppression par défaut. Utilisez ROUGE et JAUNE uniquement ci VERT ne répond pas correctement à vos inquiétudes de rétroaction ou si la réduction de la rétroaction est plus importante que la qualité audio. Si vous avez des artéfacts dans le son si vous utilisez la suppression de rétroaction c’est possible que vous deviez utiliser un réglage moins agressif. Éssayez VERT après JAUNE et ROUGE comme réglage dernier. Pour la plupart des applications, VERT fonctionnera mais les autres sont plus agressifs si nécessaire. Wechseln der Rückkopplungsunterdrückung : Halten Sie den FBS Knopf gedrückt und Sie sollten die Farben abwechselnd leuchten sehen. Von grün nach gelb und dann rot. Lassen Sie den Kopf be ider gewünschten Einstellung einfach los. ROT ist für Ansprachen wie PowerPoint Präsentationen. Dieser Modus lässt ausschließlich die menschliche Stimme durch. Der Modus funktioniert auch mit mehreren sprechenden Personen. GELB ist für Gesang wie z.B. Acapella. Eine Grupe sowie ein einzelner Sänger können diesen Modus verwenden. Ohne Instrumente. Manchmal kann dieser Modus auch mit Gitarre benutzt werden da Gitarren Tonfrequenzen denen des menschlichen Stimme sehr ähnlich sind. Generell soltle mit instrumenten jedoch der grüne Modus benutzt werden: GRÜN ist für eine universelle Anwendung und sollte als standard Rückkopplungsnterdrückung benutzt werden. Schalten Sie nur dann auf GELB oder ROT, wenn es Rückkopplungsprobleme gibt oder wenn Rückkopplungsverringerung wichtiger ist als Tonqualität. Aggressivere Unterdrückungen können zudem Artefakte im Sound hervorrufen. Wenn Sie Probleme mit zuvielen Artefakten haben: Versuchen Sie am besten andere Modi aus. Starten Sie dabei beim GRÜNEN Modus, dieser funktioneirt in den meisten Fällen am besten. Testen Sie dann GELB und später ROT falls es noch zuviel Rückkopplung gibt.
  24. Line6Tony

    DT50/DT25: Terminology

    Zur deutschen Version. La version française. DT50/DT25 Terminology FAQ Headroom: how much signal “room” you have before encountering distortion, particularly saturation. If you have more headroom, the amp will feel like it responds to your playing subtleties better and you’ll have more dynamic range for expressive playing. With less headroom, you get into serious distortion without playing as hard. Topology: the layout of a “feedback topology” of the amp circuit referring to the voicing of the global negative feedback of the DT50. Changing circuits will change the voicing of the amplifier. Class A: an amp design where current is flowing through the tubes constantly. Headroom is deceased, so tone becomes distorted sooner. Class AB: an amp design where a pair of tubes work together by “trading” duties (one is conducting current while the other is in cutoff). Sometimes the term “push-pull” operation is used to describe this mode. Provides greater headroom and tone remains clearer as a result. Bias: the voltage value between the control grid (grid #1) and the cathode, which dictates the power tube’s behavior in terms of distortion cutoff/saturation. There are two types of biasing methods: fixed-bias and cathode-bias (sometimes called self-biasing or auto-biasing). The DT50 operates in fixed-bias when in Class AB. It switches to cathode-bias when in Class A. Pentode: the power output tube is a 5-electrode object (cathode, control grid, screen grid, suppressor grid and anode/plate). In the DT50, when you select “Pentode” mode, you’re operating the EL34’s as pentode tubes. Triode: a mode of operation where the power tube has 3 active elements (cathode, control grid and the anode/plate). Setting the front panel control switch of the DT50 to “Triode” alters the behavior of the EL34’s to act more like a triode, which reduces the power output and affects the high end as well. Negative Feedback Loop (NFL): a certain amount of the amplifier’s output is fed back into the amp to reduce distortion and increase headroom. A higher amount of NFL results in a tighter response overall, which some guitarists may be seeking in their tone. A lesser amount of NFL can make the amp feel more “wild” and “unruly”, which can be also desirable to many guitarists. It depends on what you’re after and the context of what you’re after, musically-speaking. Tonestack: the EQ-region inside of an amp where the Bass, Mid and Treble controls live. Sag: the response of the amp to what is being played on the electric guitar, usually heard at the beginning of playing a note or chord that follows a rest. Sag will cause the amp to get a bit quieter, while also causing more distortion. DT50/DT25 FAQ Headroom: Der Headroom beschreibt den maximalen Spielraum, den Sie haben bevor es im Verstärker zu Verzerrung und Übersteuerung kommt. Mehr Headroom bedeutet, dass der Verstärker einen größeren dynamischen Bereich abdeckt auch während ausdrucksstarkem Spielen. Weniger Headroom wiederum bedeutet, dass es früher und öfter zu Verzerrungen kommen wird ohne hart zu spielen. Topology: Das Layout der Schaltung des Verstärkers. Die Änderung dieses Layouts wird den Klang des Verstärkers verändern. Class A: Bei diesem Layout fließt Strom kontinuierlich durch die Röhren. Headroom ist verringert und Verzerrungen treten früher auf. Class AB: Bei diesem Modell arbeiten beide Röhren zusammen. „Push-Pull“ wird hier oft im Englischen als Beschreibung verwendet. Das Resultat ist ein vergrößerter Headroom sowie klarerer Ton. Bias: Die Anzahl Volt zwischen Steuergitter und Katode. Bias steuert das Verhalten des Verstärkers. Es gibt zwei Methoden für Bias: Eine fixierte Ausrichtung (fixed bias) und die Katodenausrichtung (cathode bias) (auch automatische Ausrichtung genannt). Der DT50 ist im fixierte Ausrichtung Modus in Class AB und wechselt in den automatischen in Class A. Pentode: Die Röhre ist ein 5-Elektroden Objekt (Katode, Steuergitter, Bremsgitter, Schirmgitter und Anode). Im DT50 schalten die EL34 Röhren sich in den Pentode Modus wenn Sie „Pentode“ auswählen. Triode: In diesem Modus hat die Röhre nur 3 akive Elemente (Katode, Steuergitter und Anode). Wenn Sie das Gerät auf „Triode“ eisntellen wird die EL34 mehr wie eine Triode verhalten. Sie erhalten weniger Output und die Höhen werden auch beeinflusst. Negative Feedback Loop (NFL): Ein Teil des Outputs eines Verstärkers wird wieder zurück in den Verstärker gespeist um Verzerrung zu vermindern und den Headroom auszudehnen. Mehr NFL bedeutet eine bessere Reaktion und weniger NFL resultiert in einem wilden und unbändigem Ton. Es kommt aber darauf an, was Sie persönlich mögen. Tonestack: Der Teil des EQs in dem sich die Eisntellungen für Bass, Mitten und Höhen befinden. Sag: Die Reaktion des Verstärkers auf das was Sie auf einer elektrischen Gitarre spielen. Sag kann man meist am Anfang einer Note oder eines Akkordes hören. Der Verstärker wird ein wenig leiser und verursacht mehr Verzerrung. DT50/DT25 FAQ Headroom: Si un ampli a beaucoup de Headroom, ca veut dire que cet ampli garde un son clair avant de rencontrer de la distorsion et une saturation sonore. Jouer l’ampli se sent comme vous avez beaucoup plus de gamme dynamique. Si vous jouez sur un ampli avec moins de headroom, vous obtenez des distorsions graves sans jouer aussi fort. Topology: La disposition du circuit dans l’ampli. Changer cette disposition change le son de l’ampli. Class A: Une topologie où le courant circule constamment à travers les lampes. Moins de headroom = distortion plus tot. Class AB: Deux tubes coopèrent. Plus de headroom = le son garde la clarté plus longtemps. Bias: La tension entre grille de commande et cathode. Le bias configure la saturation de la lampe. Il y en a deux modes de bias : bias fixé et bias à cathode. Le DT50 est en mode bias fixé en Class AB et change à bias à cathode en mode Class A. Pentode: Le tube de sortie est un objet avec 5 électrodes: Cathode, grille de commande, grill écran, grille d’arrêt et anode. Sur le DT50 si vous sélectez « Pentode » les tubes EL34 sont en mode penthode. Triode: Le tube de sortie a trois éléments: Cathode, grille de commande et anode. Si vous mettez le DT50 en mode Triode, les EL34 agirent plus comme des Triodes. Puissance de sortie réduite et Triode affecte les sons de haute. Negative Feedback Loop (NFL): Une certaine quantité de la sortie du ampli est réintroduit dans l’ampli pour réduire la distorsion et pour ajouter du headroom. Plus de NFL se traduit par une réponse meilleure et moins de NFL vous fournis on ton sauvage et incontrôlé. Le NFL dépends à vos préférences. Tonestack: La région de l’égaliseur dans l’ampli. Les contrôles Basse, Mi et Aigu s’habitent ici. Sag: La réponse de l'amplificateur à ce qui est joué sur la guitare électrique. Normalement, vous l’entendez au début de la note. Sag provoque de la distorsion. DT50/DT25 FAQ
  25. Line6Tony

    Reducing Unwanted Noise

    Q: How can I reduce hum/noise/feedback when playing? -Single coils pickups used with higher gain settings will often cause noise. Try combining two pickups via the pick-up selector or trying a different guitar to see if the situation is the same. Make sure all the input and output jacks are tight. Check the instrument with different pickup settings to make sure it is not a bad pickup connection. -Higher gain settings tend to be the cause of many noise and feedback issues, try to dial the gain back on your amp a bit. Remember that heavy-rock bands often triple track (or more) when recording to create a thicker sound. -Turn your volume knob off when you are not playing (even during stops in a song when possible). -Turn off other volume controls not being used (i.e. volume trim pots) -Use the highest quality cables you can afford, and the shortest distance you can live with. RF can create many noises that can be eliminated with well shielded cables. -Experiment with distance and position between your guitar and amplifier/recording rig. - Avoid florescent lighting when possible. - Make sure that your instrument/rig is plugged into the same power source as the rest of your gear/band/PA system (to avoid ground loops). - User a power conditioner/regulator to filter RF and keep the voltage constant. - Experiment with the noise gate feature on your Line 6 unit or use an external noise gate. Q: I hear a "popping" sound when I turn my amp on, is this normal? How do I reduce the popping sound I hear when I turn my amp on? A: The popping sound is normal as it is a ramp of up the switch mode power supply. You can lessen the effect by: i) not having the input plugged in (disengaging the preamp section). ii) having the master volume turned all the way down (lowering the power amp output).
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