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Found 28 results

  1. The pins of the connection from input output board (1 to 6) to the A/D Board are shorten to the back casing. Isolating the caseing in this area whith tape solved the problem. nice mixing everyone M20D Rocks (pictures come later)
  2. Line6Tony

    Different Firehawk volume controls

    The overall volume is the Master Volume control. This is controlled by the "big knob" when the LEDs are red (the default state). All of the other volumes happen before this one and it's ultimately how you control the output level while keeping everything relatively balanced by using all of the other controls. This is a global control. The Guitar Volume happens just before the master and is how you balance the guitar level against the Bluetooth streaming audio that is coming into the unit. This is also a global control and is accessed by pressing the big knob until the LEDs are white. The Channel Volume is like a Master for just the amp, and it is stored with the patch. It adjusts the output level without affecting the tone (like the Gain control on the amps would). This is the control you use to level your presets relative to each other. The slightly quirky thing here is that it does live in the amp processing slot, so it happens in the signal chain before the post effects. In v1.1 firmware and later, pressing the big knob until the LEDs are pink acts as a short cut to accessing this control without the app. The Gain on the amp panel is the per-patch parameter that affects the tone of the amp - also referred to as Drive The Volume Pedal is an additional real-time control whose value is not saved with the patch. You can see in the app where it lives in the signal path. The Master control on HD amps is considered a deep edit parameter (like sag, hum, etc.) that is saved with the patch and is exclusive to HD amps. It's the output level of the preamp to the power amp. When you load one of these models, the stored value is right for that amp in the default state and it's usually best to leave it where it is unless you are going for a very specific effect.
  3. activateclint

    Getting a unity gain line level output?

    Hi all! So I'm enjoying my HD500 (yea i only just bought one in 2018 in great condition second hand) for use with something not generally thought of but for solo acoustic shows. I will also use it for electric gigs with a band (1% of gigs) in the same way but this question is about specifically getting a unity gain signal out of the 1/4" output for Acoustic gigs so venues that have an XLR to In-House can get neither a too quiet nor a too loud signal. These venues take this signal and plum it off to their amp and usually control their level from an iPad. If the signal is weak i guess i'll have to readjust my master output coz they'll not have enough level and if its too loud it could result in a lot of bleeding ears and equipment damage etc. I have a pedalboard with the unit and Roland kick trigger in it where everything, vocal mic, acoustic and kick trigger (into effects return) is setup. I have done 2 gigs so far and it already sounds good but just with my own equipment not into a venues in-house. My paths are as follows: Path/Input #1: Guitar (with active pickup at max) > Vintage Pre > EQ > Tube comp (for boost) > AMP DISABLED > Both join at Mixer > Reverb > Effects Loop > Looper Path/Input #2: Mic > Vintage Pre > EQ > AMP DISABLED > Both join at Mixer > Reverb > Effects Loop > Looper Roland Kick: Effects loop return > Looper (this only seems to work when the Effects loop is disabled, why haha?) (if there is some way to get the Looper to only record the guitar id love to know!) Note: Unit switches = Guitar in is at "Normal" and 1/4" output is at "Line" I then use a mono 1/4' to XLR cable to my powered speaker, the XLR out of this speaker will go to the venues In-House. So i did notice that when i disabled the effects on the guitar path it was a lot louder signal, and the mic had distortion and some signal noise so i should be able to fix that no worries... My real question is that without the HD500 having a sound meter or clipping meter how do i know where to set the guitar pickup level and whats the correct way to achieve this? Is it at the mixer? Maybe its at the master output? Obviously on a real mixing desk you set the fader at 0 and bring up the gain pot so its kinda just in the orange. Is there some software on the computer that emulates a mixing desk that i could hook up via USB and play into to test signal level? Can the HD500 Edit software do it? Sorry for all the questions haha! My thought is to start fresh with the 2 paths (no effects or amps), leave guitar pickup at max, adjust desired Mic volume output to match with the trim pot, then add effects preamps/eq's etc that are not boosting or cutting volume. Would be great to hear everyones thoughts if that all makes sense, Thanks :)!
  4. JTV-59 & POD HD500x users: How do you use the "Guitar in pad/normal"-switch on the POD HD? I feel and read that the PUps on the 59 are very hot, so I use "pad" to prevent peaking the gain-stages at the POD.
  5. Salut tous le monde, Depuis un moment, je pense avoir un soucis concernant ma carte son. J'ai brancher ma prise XLR dans le MIC 1/L GAIN ( j'ai tester dans le 2/R aussi ). Mon volume micro et réduit au minimum donc 0 normalement, mais quand j'enregistre il entend le son entrent et pas qu'un peut...et sa ne sature pas. Je suis sur Cubase.
  6. guitarman871

    High Gain Amp Model Feedback

    Hello Helix users! First time post for me. I wanted to give some feedback on amp models I have encountered. Maybe some of you can relate! For reference, here's my current setup: ESP Eclipse (EMG 81/60) Signal chain: Guitar --- ISP Decimator ProRack G (pre) --- Helix --- ISP Decimator ProRack G (post) --- Mesa Boogie Stereo 2:50 Power amp --- 4x12 Stereo Cab (Celestion V30s) For my setup here, I am primarily using the preamp models, so the majority of my feedback here is surrounding them, though I feel the full amp models are reflected in a very similar way. Topic 1: The Cali IV Lead Gain/Drive - I'll preface this by saying I am a current Mark V owner, and have played various other Mesa Boogie Mark Series amplifiers. The gain saturation I am able to achieve from the real amplifiers is far more than the model is capable of. Seeking that Hetfield chug tone, I should conceivably be able to go straight from the guitar into a Mark IV and have all the gain necessary to get that tone, without having to put an overdrive in front of it (especially with active pickups). Overdrives, even with the tone control all the way down make the sound just a bit more tinny and thin. I have a good work-around right now, putting the Minotaur pedal in front with very low gain/tone, and turning the Lead Gain and Drive all the way up in the preamp model. Also, I've EQ-ed the crap out of it. To get that sharp bite I'm looking for, for boogies it's common that you must turn the bass control down, and adjust accordingly in the post EQ, which I've done. However, the Cali IV Lead model (in my humble opinion) should have loads more gain available to it that would be on par with say the "Line 6 Electrik" model. I'll finish this by saying that despite this one criticism, the Cali IV model sounds and acts SPOT ON to a Mark IV. Really impressed with it overall. And for anyone wanting to achieve that signature Boogie Hetfield tone (I would say the best representation of what I'm talking about is the song "Breadfan"), here's basically how I did it: Minotaur Pedal - Gain 1, Tone, 1, Level 6 Cali IV Lead - Lead Gain 10, Lead Drive 10, Bass 0, Mid 5, Treble 8, Master 3, Five Band EQ is all flat, except for 750hz at -8.0, and 2200hz at +2.0 Parametric EQ - 80hz +12.0, 240hz -5.0, 795hz -8.0 Everyone knows that taking out 750-800hz will get that scooped sound, but adding on that, if you dial down the 240hz range, it sculps the deeper bass to emerge ever more prominently, resulting in a very thunderous thump for all of your galloping desires. Also, the overall tone is still maintained very full, as only very specific frequency ranges are tweaked. Just my experience. Topic 2: All High Gain Models Are Muddy - After playing around with most of the high gain models, I've come to realize that I'm really only satisfied with the Cali IV (as mentioned above), and the Line 6 Electrik models. Reason being, on all of the other ones, to include the Rectifier, JCM800, 5150, and Soldano Lead, the higher the gain is turned up, the more muddy the bottom end turns into. Now, I own a Dual Rec, and have played on a JCM800 and 5150, and know that the bottom end of those amps is as sharp as a knife. I am aware as well that the Master control in these amp models has a direct effect on the tone of the amps. However, no matter where I have it set on any of them, it turns to muck when the gain goes up. I have also experimented with using amp blocks instead of preamp blocks and found there is little difference in regards to this specific issue. Granted, with the setup I have described above, it makes sense to use the preamp models, but at low/night time volume levels, the amp blocks sound good through my poweramp and cab as well. I really look forward to any comments the community would like to share about my topics, as well as any feedback the Line 6 staff/techs may feel compelled to share. Thanks! Mike
  7. Sorry for the speculative nature of this question but I don't have my amp at home and can't experiment for myself easily. I've created some patches with my new Helix where the intention is that I'll run it into the return of the effects loop on my Bugera 6262 (basically a cheaper Peavey 6505 clone, for the uninitiated). The chain looks like this: guitar in -> OD -> PV Panama Amp -> chorus -> reverb -> Send 1 -> Cab sim -> 1/4 out The idea is that I can test the tones at home with headphones and hear it with the cab sim, but in a live setting, I can just take a cable from Send 1 to the Return of my amp, and hopefully the resulting sound will be much the same (slight cab differences aside). The complicating factors are these: 1) The effects loop on the amp presumably leads into the power amp. So I'd potentially be running a simulated power amp and a real power amp. I know I can swap out the PV Panama Amp for a PreAmp model, but this makes it a bit harder to test adequately at home because the levels from it are too low. (Makes no difference to modulation or reverb I expect, but it's difficult to know whether I'm gain staging correctly). 2) The Send can be Instrument or Line level, and I believe my effects loop requires an Instrument level signal. But it's not clear whether the Instrument level is an attenuated version of what goes in, or whether the Line level is amplified, or whether I am just misunderstanding the concept entirely. I feel like I need to understand this in order to get the gain staging right. Ignore this: I guess that as long as I manage to match the setting to the amp, it'll work out about the same. 3) If I bypass a cab model on a normal amp -> whatever -> cab chain, the eventual output is much hotter and appears to be clipping, even if it doesn't clip at all with the cab model in place. I think I saw this with some of the factory presets too. This makes it difficult to know whether I'm gain staging things correctly in a situation like mine where I have a send before the cab model. To compensate I set my Send block to output at -12dB, but I'm not sure if this is the right approach to the problem. So, I'd like to understand all the above a bit more, but most importantly - what are the recommended settings for sending the output of amp models into the effects loop of a Bugera 6262 or Peavey 6505, or similar? (I'm not using the 4CM method for now - the Bugera distortion is great but if the PV Panama sim is good enough then I won't need it, or indeed the extra complication of the additional loop.)
  8. I posted this in the old forum months ago, since many peole found it useful I thought I could re-post it here: ___ I really think these are important things not stated (or in some cases not clearly stated) in the manual, that you need to know to start seriously programming your POD HD I ran some serious tests on my Pod HD 500 and here is what I found out (I made my tests on a POD HD500 but this is valid for HD500X and HD Pro and is very similar for the "bean" version too), I'll try to be as synthetic (but complete and clear) as possible, but this is going to be a long reading so sit down and take your time or just go surfing somewhere else §§§ In short: the "famous" [input-1: guitar / input-2: variax] setting gives you different levels of signal depending on the position of the first *mono* effect block you use (amplifiers included), in particular you LOSE 6dB in the "pre" path in comparison to the path A/B or post path (note that this is not the same as saying that you gain 6dB with input-2 to "same", read on). [ if you don't know what I'm talking about just go and read this thread: http://line6.com/support/thread/74045?start=0&tstart=0 then come back here to hear a different opinion on the matter] first of all, try it out: - connect a guitar to the guitar input and the Left output to a full-range linear amp (or use your headphones) - recall a "new tone" default blank patch - set input-1 to Guitar and input-2 to Variax - set mixer channel A fader to unity (0.0dB) and pan to center - set mixer channel B fader to mute - setup a noise gate* with the threshold set to 0% in "pre" position (with this setting this IS a unity gain mono fx block) - play thru it - now if you bypass it, you'll hear that it looses 6dB of level when it's active (I initially thought this was noise gate's fault, but it's NOT) - now re-activate the noise gate and move it in A or "post" path - now if you try to bypass it you'll hear that it does NOT loose any dB - try moving the block back and forth between pre and A or post paths and you'll hear more level in path A or post than in pre this was already found out at least by hurghanico here: http://line6.com/support/message/403287#403287 but it's so important that needs a dedicated and more detailed thread. [* you can repeat the experiment with other mono effects instead of a noise gate but keep in mind that, if you want to clearly hear a level difference, you need a mono unity gain (www.music-dictionary.org/unity_gain) effect, for example: - a tube comp with thresh 100% & level 2% settings will work just as the noise gate above - an fx loop block with a mono cable connected between send and return will work just the same (but also read point 2 below) - do it with an amp with medium-low gain and, moving it between pre and A or post paths, you'll hear a significant difference in gain/ovedrive/distortion, not only level difference] §§§ OK now that you heard it, let's see it in detail; these are the REAL schemes of the pod and fx blocks routing, yes it's done by hand and I love it ;-) As you can see the pre path is a "dual-path" while A, B and post are all stereo paths; at the splitting point, where the path A and B are born, the signal coming from input-1 is splittted to the Left and Right channels of the path A and the signal coming from input-2 is splittted to the Left and Right channels of the path B; furthermore all fx blocks have TWO inputs and two outputs and the mono blocks do attenuate by 6dB and sum their inputs, then process the result and then split their mono output to both outputs of the block; for those who don't know, notice that: - "splitting" means duplicating one mono signal to two "routes" - and summing those two identical signals means doubling the level of the original signal (which equals to 6dB more) [and some side-notes: - the "stereo dry & mono wet" effects are for example the pitch effects and the "dry" type delays, I'm not considering this type of effects in this post, but they work as expected from the scheme you see above; - you can find a list of all the fx blocks divided by type here: http://line6.com/support/page/kb/_/pod/pod-hd/stereomono-fx-list-for-pod-hd-r567 where "stereo dry & mono wet" blocks are called "Stereo Thru/Mono Effect" which I personally find less clear - the mixer control named as "pan" is actually a "balance" control because if you move it to one side (e.g.: left) it acts on the stereo or dual mono signal by doing NOTHING on that side (left) and ATTENUATING the opposite side (right)] §§§ So, summarizing, if you only activate input-1, in the pre path, the first mono effect is attenuating the input 1 and 2 and summing them, but, since input-2 is actually silence, you loose 6dB; in A, B and post paths the effects are receiving a doubled signal on L/R, so the mono blocks, attenuating and summing the two signals, receive the right signal level to process so using "same" or "guitar" for input-2 does not mean to gain anything, but having a constant doubled signal wich is compensated by a 6dB attenuation in each mono summing it encounters in his flow please note that I am NOT saying that using only input-1 is wrong, you just need to know that this can give you different gain results depending on the position of the first mono effect with only input-1 active (Guitar/Variax) and the same parameter values, this: is giving you more distortion than that: now, if you use those two setups with "Input-1: Guitar / Input-2: Same", you get EXACTLY the same sound with both and this is something that can not be ignored ...don't know how to be more clear than that
  9. senanimach9

    Noise Gate

    I'm still getting the hang of my IV 150 and haven't found any help elsewhere so hopefully y'all have some experience with this. I've noticed that when playing softly or when two notes are ringing out (maybe during a bend) the volume cuts in and out very subtly, like a tremolo almost. This mostly happens with the high gain models and I'm pretty sure it's happening because the strings volume kind of fades in and put while being held. I think half of the 'signal' is getting caught by the noise gate. I was wondering if anyone has a favorite setting they like for NR, Gate or Gate+NR? Or do you recommend using it at all? I've read some people just turn it off altogether.
  10. Hi. Does someone have some kind of a "4 channel"-preset (or more), with a nice and clear clean, a warm bluesy low-Gain sound, a Marshall 800 like mid-Gain and a shredding high-Gain sound + solo-option. I heard it is possible to configure one preset that way to be used as a highly flexible multi channel amp. I would use your preset as a default construction for finding my basic tones in just one preset. Warm regards, Sascha (Please excuse my poor English. I'm from Gemany)
  11. radatats

    Effective Gain Staging

    there have been tons of questions over the years about where to put your pedals and how to get the best tone. Everyone always references gain staging as the most important piece of the equation. Well the video below is probably one of the best I have ever seen explaining how gain staging works, what to look for, where to place pedals, etc... a bit long but definitely worth the watch!
  12. shelterdsoul

    Dual amp question

    Hey guys new to the forum here hoping you can help out. I have a weird situation with my pod hd500x that has me stumped. I have a patch set up with 2 of the same amp(one top of chain and one directly below it). What I have done is set it to where only one amp is active at a time with the press of a button. (what this is accomplishing for me is adjusting a preset gain on the amp in question by actually switching to a different amp) The problem I am having is once I switch one amp off I get the "dry" bleed through in my live mix. any ideas?? I have a gig this weekend and I would like to figure this out. cheers, shawn
  13. So recently purchased my AT2035 and Line 6 UX2. While I have some knowledge of audio interfaces, I find myself a bit lost when it comes to my microphone's specific issue. I have found that the microphone levels are very low and even with a volume boost it sounds rather low quality. I have tested my mic with no presets and it sounds very quiet reaching only roughly around -25 db. I have also tested various presets and have found using the default studio vocal preset to be the best; a bit louder, but still very quiet. It may also be important to note that the Mic 1/L Gain is in this position: Below I have posted screenshots of my UX2 audio interface and have given a small audio sample. The first half of the audio file is with no pre-amps or effects added and the second half contains the default studio vocal preset. I still believe the mic to be too quiet and am at a loss as to what is causing this. Any help is greatly appreciated! Mic.mp3
  14. SirRis

    Exp Pedal affecting the tone

    Hi guys! So far, I have no problems with my POD HD500X and I actually found my desired tone.. but I only noticed that as I lower the volume through my expression pedal, the gain seems to decrease too. Is that normal? I just don't find it hurting the tone especially when doing swells. Is there any way to fix it? I hope you could help, guys. TIA!
  15. I'm playing this song this weekend (just found out about it) and most of my heavy gain patches are a little too dark/metal sounding for the song (up through 0:40 will give a good sampling). http://www.mediafire.com/listen/5cj6thzaqy1pztu/02+Joy+to+the+World.mp3 I'm not looking for someone to make a patch for me or anything like that, I'd just like some suggestions on an amp model and/or distortion pedal model that would get me in the ballpark of this tone. I'm plenty comfortable enough to build the patch to sound good in the live mix, it's just that since I bought my HD500X last April, I haven't familiarized myself with all of the amp models as much as I would like to have by now. So what are some good amp models to start with to get somewhere near the tone for the song in the link? I'm thinking maybe one of the Marshall amp models, but if anyone has a better starting point, I'd appreciate any recommendations.
  16. MakeItShredNo1

    Fx Loop Noisy when OFF

    If I have a gain-y pedal in the FX loop of my HD500, turning the FX Loop off causes the noise level to go up. Specifically I'm using a Bogner Red pedal, and I'm trying to use my HD500 into the power amp of a Fender Deluxe. I'd like to be able to assign the FX Loop and a preamp on the HD500 to A/B, so I can go from a medium gain modeling preamp to the high-gain Bogner with one footswitch. GTR -> HD500, pregain FX - FX out - Bogner red - FX in - HD500 preamp* - post gain FX - main out - Power Amp In Pod set to Combo Pwr Amp So far I've confirmed: The noise is coming from the pedal being in the FX loop. Turning the pedal off always gets rid of the hiss. Patching the FX loop into itself does not cause hiss. Pedal straight into amp does not cause hiss** Hiss happens when the fx loop is set to both line and stomp levels. The hiss goes down when set to stomp, but so does the volume of the pedal (which is no good as I'm using it as a preamp). The hiss also happens if I have BOTH the FX loop and amp enabled but turned off. It does NOT happen if I have either one disabled. *The HD500 modeling preamp and the Bogner red are set to never be on simultaneously. **Unless I have the gain cranked, and even then it causes significantly less hiss than if in the FX loop.
  17. Hi there, I used to connect the unbalanced 1/4" OUT of my HD500X into the line input of my M-Audio M-Track. With this configuration I was able to adjust the gain one the soundcard linearly, using the whole stroke of the knob. Now I'm using the HD500X connected with the M-Track with the XLR balanced outputs and with this configuration the first 3/4 of the gain knob have no influence on the signal, only the last 1/4 daoes, and it's obviously very sensitive. I don't know if it's a soundcard issue or if there are differences in POD signal using balanced vs unbalanced outputs. Can anyone help me? Thanks in advance
  18. I love the tube gain effect and the screamer and the fuzz! Honestly all of the stomp box distortion fx have something to offer but no matter how I adjust through gain/drive, master/channel volume, the gain fx always have a drop in volume when switched on, compared to the clean tone. I've tried setting them to Post instead of pre and that certainly boosts the volume quite a bit but it sounds awful, pre sounds great. I love being able to switch between clean and dirt as if using an actual pedal but that drop in volume... Anybody else run into this? Have any suggestions? It's pretty consistent throughout all the amp models but I generally use the clean red with tube gain effect, gain 100% drive somewhere between 50 and 85%.
  19. I got POD Farm a while ago with my UX2, but it has always had a bad sound. It sounds like it's being played through one of those little 9V-battery-powered amps, rather than a professional, high quality amp, even when the volume is turned up. No matter how much I turn up the gain (I've even boosted my treble to the max and cut the low-mids out), it still sounds like it's muffled, and it sounds really bad. Even when I plug the cable into it and it makes the buzzing sound that usually happens, even that sounds muffled. It sounds like I'm plugging it into a $15 interface rather than a professional guitar amplifier. NOTICE: I play different songs on YouTube that have the same settings as I use, and the songs I listen to there have a high-quality tone. So I'm almost certain it's not the speakers. HERE IS MY EQUIPMENT: -MacBook Pro (Mac OS X 10.8.5) PROCESSOR: 2.2 GHz Intel Core 2 Duo MEMORY:3 GB 667 MHz DDR2 SDRAM -Creative Inspire T3300 Speakers (They have a 1/8" input jack that I connect to the "headphones" input on the UX2 using an adapter) -High-quality guitar cable -Agile Interceptor Pro 930 with 30" scale and active pickups -This guitar is HIGH-QUALITY and has a very bright tone, and it should have one on POD Farm, but it doesn't. Is there a reason for the tone sounding really bad? Are there settings on my computer or something that I can change? OR could I upgrade my sound card?
  20. vilo1968

    Problem With Gain

    Hello. I have a problem with the release of CustomTone presets, as most are settings may gain an amount which, according to my judgment, is little. Many of these presets, are made ​​by people who uploaded videos to YouTube, and in those videos, presets sound great, but in my guitar I have to increase the gain too much with the problems this entails. My guitar has pickups Bill Lawrence XL500, and all electrical installation and cables are in perfect condition. I would appreciate any help.
  21. Greetings fellow Line 6-ers, There does not seem to be any documentation on this, yet it seems of critical importance when deciding which interface to purchase for recording via microphone: What is the precise maximum +dB gain provided by the physical mic preamps on the Pod Studio UX1 and UX2 respectively?
  22. 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.)
  23. 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!!!!
  24. 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?
  25. 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 :( .
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