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shredjsx

Hd500x volume level

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Ok, I'm also part of the suggestion board for line six issues...

I posted that there needs to be a even volume for all Amp presets....

And there have been several comments about this...

Creating patches for live playing and keeping an even volume to start with on all amps makes playing live a pain in the rear if you're switching banks...

 

Especially if you have to use a graphic eq or a compressor to boost your volume on lower sounding amps

 

And fixes for live players, as this is supposed to be used for

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Ok, I'm also part of the suggestion board for line six issues...

I posted that there needs to be a even volume for all Amp presets....

And there have been several comments about this...

Creating patches for live playing and keeping an even volume to start with on all amps makes playing live a pain in the rear if you're switching banks...

 

Especially if you have to use a graphic eq or a compressor to boost your volume on lower sounding amps

 

And fixes for live players, as this is supposed to be used for

 

Can you use the mixer to boost or cut the amps appropriately? I never really tried this with all the amps to see if it works.

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I've been playing various preamp/multi-fx units and modelers for years. Never had one that didn't require balancing volumes between patches. Different EQs and FX, even without switching amp models is enough to throw volumes off from one patch to another. Balance them, and be done with it. I don't get why there's such a fuss over it...it's really not much of an ordeal.

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I use about 6 different amps and 10 different banks, gets irritating

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I use about 6 different amps and 10 different banks, gets irritating

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It does but I can't think of a MFX that doesn't behave like that. At practice I use the volume pedal at 1/2 position and take note of what tunes need to have more patch volume. Lets me adjust when I get home to try and normalize things. Mind you I am not going 6 amps and 10 banks into it. :)

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It would be awesome if Line 6 developers could design an in depth software add on ($$) for HD Edit, to adjust or at least monitor I/O levels. I would assume there are good stand alone downloadable db meters/spectral analyzers out there on the interweb, but having one designed specifically for the POD series would be ideal if not necessary because of all the modeling involved. Rather than opening up third party recording software to analyze levels, which i've found to be mostly crap, you could open up say.... HD500X Analyzer & run it the same time as Edit for seamless, real time accurate I/O level monitoring.

Thoughts ?

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I doubt that such a tool could be sold for any kind of profit by Line 6.

For one, good audio measurement SWis not cheap to make and in this case it won't be easy or straight forward to use either.

There are so many factors that impact equal loudness that just measuring peak, RMS, using weighting, or even adjustment for volume dependnt frequency hearing will make such a tool complex to use and still heavily dependent on personal judgement.

The only thing I miss is some indicator (light or bar) that shows me when a specific modelling block exceeds the models inherent soft compression/distortion level (usually somewhere between -12db to -9DBFS peak), which does not reflect what the real piece of equipment actually does. This would be useful to keep signal levels between models at healthy levels, reduce noise, and avoid signal level induced model distortion (unless intentionally selected).

Besides that I see no way to avoid the personal balancing adjustments just by listening at the intended volume level. You can balance by peak, RMS, or some weigthed form (like broadcast loudness standards) and you still not get the same loudness if the sounds are fundamentally different, like when you try to balance volume of a very clean tone and a distorted or highly compressed tone with lots of effects.

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You can balance by peak, RMS, or some weigthed form (like broadcast loudness standards) and you still not get the same loudness if the sounds are fundamentally different, like when you try to balance volume of a very clean tone and a distorted or highly compressed tone with lots of effects.

Can I get an "Amen"?!?!?!

 

Ears are becoming an underused tool....

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Although not a solution to this problem, especially of you use lots of patches, I laboriously compare each patch level volume with New Tone then find something - anything - in the patch to make its volume the same as New Tone. Channel Volume has been a good choice when available in the patch because it doesn't seem (at least to me) to change the sound.  The mixer LR sliders have worked in a pinch depending on where the mixer is in the path.  I have resorted to an output volume control in an FX or amp but it is more likely to change the sound unless it is near the end.  This is the only make shift mitigation I have been able to come up with.  At least New Tone provides a standard volume to test against   You all know much more about this than I do, I'm sure, so maybe this is a duh, no brainer for you.  Or perhaps a duh, dumb idea.  But I thought I would try out this here forum thingy with a first post.

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This topic is the closest I found to my problem and sorry if its hijacking but I am staying on topic................ When I change patches some of my patches are blaring and I have to turn it down on the amp itself. I saw a post above that mentioned having to even the volumes out between patches.............how do you do this? POD HD 500.........when your jamming along to a track it sux to have to change the volume right in the middle.

Thanks

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This topic is the closest I found to my problem and sorry if its hijacking but I am staying on topic................ When I change patches some of my patches are blaring and I have to turn it down on the amp itself. I saw a post above that mentioned having to even the volumes out between patches.............how do you do this? POD HD 500.........when your jamming along to a track it sux to have to change the volume right in the middle.

Thanks

 

You might try using a combo of the mixer, amp volume, studio eq and using the guitar volume knob. The studio eq alone can boost or cut. If I use the studio eq I put at the end of the chain.

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Ok thanks. Will dive into that.

I assume I can look at each patch and get those parameters matched as close as possible through all patches?

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Ok thanks. Will dive into that.

I assume I can look at each patch and get those parameters matched as close as possible through all patches?

 

Try one at a time to see what gives so you don't get too lost.

 

Don't forget theirs a volume pedal and boost comp in there too. I'm not expert on leveling patches but I make do. The more you use the HD500 the better you'll get with building patches on the fly. I don't even bother saving patches anymore other than to upload them to custometone or to send them to a friend so they check it out.

Edited by Brazzy

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Maybe a Global Limiter along with the EQ would be an easy way to do it, but then it would color the sound.

Although it's a pain, the old fashioned way works well for me when I've taken the time to level all my live banks and patches (5 banks x ABCD). Using an FBV (for POD HD) during the process is a must.

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I play a three channel tube amp, and also have to level the different channels... so, why all the complaining about the Pod?

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Because we're all naturally lazzy and want that things are either automatic or simple ;-)

I guess we're all hoping for the silver bullet solution, but in this case there is none.

It's the old fashioned way: Change your tone setting until it does what you want ...

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Because we're all naturally lazzy and want that things are either automatic or simple ;-)

I guess we're all hoping for the silver bullet solution, but in this case there is none.

It's the old fashioned way: Change your tone setting until it does what you want ...

Amen. Or go back to a one channel amp and a cable...the volume will always be the same til you walk over to it and turn the knob. Otherwise, on any rig with stored presets you will have have to balance volumes. Time consuming if you use a ton of patches, yes...but for 3 bananas and an apple, you could hire a gorilla to do it for you. Once it's done, it's done. After everything is dialed in, only minimal tweaks should be necessary.

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Ok thanks. Will dive into that.

I assume I can look at each patch and get those parameters matched as close as possible through all patches?

Perhaps you meant it the right way, but your words make me wonder if you may be thinking that you should the make the parameter knob levels the same.  It is not that, it is twiddling whatever parameters knobs may be available in each patch (or adding a new one) until you get a volume level that matches the volume of your other patches.  I use NewTone as my standard volume reference and make all my patches come out at that volume.  And as others have said, once you do them all you should be done with it.  A hassle, but apparently the only way.

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I don't have a Line 6 provided NewTone anymore, but believe to remember that it does not have any model in it and thus the volume depends on the signal level of the guitar you plug in. This may be fine but is probably in most cases a little on the low side unless you have real hot PUs.

If you have a DAW or any other signal measuring SW connect your USB and check your guitar signal level. wo any models enabled. Ideally you want your peak signal level not to exceed -12 to -9 dBFS. If you are looking for super clean -12dBFS is probably best for you. If always want some 'hair' in your tone the -9dBFS is fine.Your RMS signal level should be at -30dBFS or higher, but how far RMS is off from the peak level depends on the type of PU your guitar has.

Put your guitar volume and tone at max and check where you sit on the dB scale.

You will probably be 6-12 dB lower.

If true put a Mid Focus at neutral settings or a Studio EQ as first model and raise gain until your your peaks stay just below the selected max value. Turn your Master volume down to what's comfortable. Now you have a high volume, high quality guitar signal to work with. No matter what you add modelling wise, the level should stay about the same, i.e, if you turn any model drive up - turn any associated gain down.

You can use RMS levels as a first order guess to maintain loadness levels, e.g., around -30dBFS, but this won't be perfect. Use your ears and the target volume to fine tune.

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