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Published on 04/07/13 at 12:26On paper delivery of this pedal is a dream. Indeed, it would be capable of simulating the following specification:
* 22 amps: Bogner Uberschall, Divided by 13 JRT 9/15 Dr. Z Route 66, ENGL Fireball 100 Fender Bassman ("Normal" channel), Fender Bassman ("Bright" channel), Fender Blackface Deluxe Reverb ("Normal "channel), Fender Blackface Deluxe Reverb (" Vibrato "channel), Fender Twin Reverb (" Normal "channel with" Bright "switch off), Fender Twin Reverb (" Vibrato "channel with" Bright "switch on), Gibson EH- 185, Hiwatt Custom 100 (DR103) Marshall JCM-800 (2204), Marshall JTM-45 MkII ("Bright" channel), Marshall JTM-45 MkII ("Normal" channel), Mesa / Boogie Dual Rectifier, Park 75 ( "Bright" channel), Park 75 ("Normal" channel), Supro S6616, Vox AC-15, Vox AC-30 (Top Boost)
* CABINET x 16 Bogner 4x12 Celestion HP = 2 x 2 x Vintage & G12T75 30, Divided by 13 1x12 Celestion G12H Heritage = HP, HP = 2x12 Dr. Z Celestion G12H Heritage & Vintage 30, ENGL 4x12 Celestion Vintage HP = 30, HP = 2x12 Fender Jensen, Jensen HP = 4x10 Fender, Fender 1x12 Oxford 12K5 = HP-6, HP = 1x12 Gibson Gibson Field Coil, 4x12 Hiwatt Fane HP = 12 287, HP = 4x12 Marshall CelestionG12M Greenback, HP = 4x12 Marshall Celestion Rola G12H30W Blackback, HP = 4x12 Marshall Celestion G12T75, 4x12 Mesa / Boogie, HP = Celestion Vintage 30, Vox HP = 1x12 Celestion Alnico Blue Vox 2x12 = HP Celestion Alnico Silver Bell, HP = Supro 6x9Supro
* MIC x 8: Coles 4038 Ribbon, Condenser Neumann U 67, Neumann U 87 Condenser, Royer 121 Ribbon, Sennheiser MD 409 Dynamic, Sennheiser MD 421 Dynamic Shure SM57 Dynamic On Axis Shure SM57 Dynamic, Off Axis
* DYNAMIC x 8 Boss CS1 Compression Sustainer with the Treble switch off, Boss CS1 Compression Sustainer with the Treble switch on Line 6 Noise Gate Line 6 Vetta (sensitivity), Line 6 Vetta (amount), MXR Dyna Compressor, MXR Micro Amp, Teletronix LA-2A Compressor Optical
* DISTORTION x 15: Arbiter Fuzz Face, Boss MT-2 Metal Zone, Chandler Tube Driver, Colorsound Overdriver, DOD Overdrive / Preamp 250, Electro-Harmonix Big Muff PI, Ibanez TS-808 Tube Screamer, Line 6 Drive, Line 6 Distortion , Maestro Fuzz Tone, PAiA Roctave Divider, ProCo Rat, Roland Jet Phaser/AP-7, Tycobrahe Octavia, Vox Tone Bender
* MODULATION x 22 A / DA Flanger, Boss VB-2, Boss CE-1 Fender Deluxe Reverb amplifier, Vibratone Fender, Ibanez Flying Pan, Leslie 145, Lightfoot Labs GoatKeeper, Line 6 Panner, Tremolo Line 6, Line 6 Phaser Line 6 Flanger MXR, Line 6 A / DA Flanger, Shifter Line 6, Line 6 Ring Modulator, Mu-Tron Bi-Phase, '70s MXR Phase 90, MXR Phase 90, MXR Flanger, Roland Dimension D, Songbird/DyTronicsTri- Stereo Chorus, Uni-Vibe
Updates the pedal and the publisher are easily the "LINE 6 MONKEY" and all these sounds are programmable and configurable via the pedal directly with the publisher or PC / MAC "HD500 EDIT".
The specifications of this version are the following pedals: 8 simultaneous effects in series and / or parallel in 2 loops, 1 amp or 2 amps in parallel, Dual Tone Amp, 512 presets, 1 loop recording 48s, 1 Chromatic Tuner , 1 Tap Tempo
For the part of the connection: Guitar Input Jack 6,35 mm, 6,35 mm Aux Jack, XLR mic input (with level control), Balanced XLR outputs (L + R), Output Jacks general asymmetric (6.35 mm G+ D) Effects loop in stereo 6.35mm Jack, Headphone Jack stereo 6.35 mm, CD/MP3 input, USB, USB MIDI, MIDI I / O, digital input VARIAX out, S / PDIF socket for pedal, L6 LINK
UTILIZATION
The configuration is ... how to say ... A "gas factory" ... yes ... This reflects the major problem of this kind of product any brand. Wanting to do everything, it comes to something necessarily complex to master the key with a certain learning time. In short, if you like simple things go your way or go to your doctor to prescribe you anti-depressants!
Fortunately it is possible to go through the PC editor "POD HD500 Edit" making things "intuitive and easier" without necessarily having to read the manual which is also well done. But hey, if you want to make a new "PRESET" PC-I wish you a lot of courage ... and rehearsal or concert unless you have a PC next to you, if you want a little play anyway you touch the pedal potentiometers to refine over the place and other musicians settings distortion volume and tone ... better to create a new "SOUND" quietly at home ... Finally there who have tried and have had problems
SOUND QUALITY
After 2 years of use, I can say that for the part because there are too many things, which sometimes have minor differences and finally we hesitate about choosing a type of distortion, chorus, whawha of flanger ... Otherwise for the simulation, I think this pedal defends well and can be placed where you want the effect as you want in series parallel. It is a kind of laboratory trials must admit more solutions inaudible qu'exploitables ... better not to think outside the box!
Otherwise side amp simulation, a Marshall actually does not sound like a Fender or Mesa Boogie as a! To say they sound like the originals and well I'd simply being "nice" that the pedal does what he can.
In the end, of course, that this machine can not do, 500 € not expect a miracle not more! But you will find still sounds very good and very well. And the best way to have a clear idea on the part of the simulation models of this device is to listen directly:
In summary:
* For clean sounds, sounds damned good here and the settings can be sure to get a clear and according to eventually cruncher with emphasis on strings and / or using a dual microphone ... POD reacts to attack like a real amp.
* For crunch tones, we find the color and to a certain extent how to play on a tube amp with bass and lower midrange quite round ... No, this is not true, to be convinced it's best to play a riff to AC / DC
* For overdriven sounds, although well below a real tube amp worthy of the name, there is dynamics, sustain, a bit of warmth and harmonics. Short enough to cover all styles ...
For me, the main problem with this amp simulation is that whatever the amp used crunch or saturation grain is always the same! How to model for me to review ...
OVERALL OPINION
In conclusion, for € 500 this pedal is convincing but do not expect an efficient modeling amps ... I expect Line6 finally passes the convolution in the same price range: is it going to be the next (r) evolution??? I hope so ...
+ Crank sober and solid
+ Good sound in the sounds clear and Crunches
Saturation + for all styles of music
- Modeling amp unrealistic
- No ON / OFF switch
- Too effect and some similar
- Switching expression pedal hard
* 22 amps: Bogner Uberschall, Divided by 13 JRT 9/15 Dr. Z Route 66, ENGL Fireball 100 Fender Bassman ("Normal" channel), Fender Bassman ("Bright" channel), Fender Blackface Deluxe Reverb ("Normal "channel), Fender Blackface Deluxe Reverb (" Vibrato "channel), Fender Twin Reverb (" Normal "channel with" Bright "switch off), Fender Twin Reverb (" Vibrato "channel with" Bright "switch on), Gibson EH- 185, Hiwatt Custom 100 (DR103) Marshall JCM-800 (2204), Marshall JTM-45 MkII ("Bright" channel), Marshall JTM-45 MkII ("Normal" channel), Mesa / Boogie Dual Rectifier, Park 75 ( "Bright" channel), Park 75 ("Normal" channel), Supro S6616, Vox AC-15, Vox AC-30 (Top Boost)
* CABINET x 16 Bogner 4x12 Celestion HP = 2 x 2 x Vintage & G12T75 30, Divided by 13 1x12 Celestion G12H Heritage = HP, HP = 2x12 Dr. Z Celestion G12H Heritage & Vintage 30, ENGL 4x12 Celestion Vintage HP = 30, HP = 2x12 Fender Jensen, Jensen HP = 4x10 Fender, Fender 1x12 Oxford 12K5 = HP-6, HP = 1x12 Gibson Gibson Field Coil, 4x12 Hiwatt Fane HP = 12 287, HP = 4x12 Marshall CelestionG12M Greenback, HP = 4x12 Marshall Celestion Rola G12H30W Blackback, HP = 4x12 Marshall Celestion G12T75, 4x12 Mesa / Boogie, HP = Celestion Vintage 30, Vox HP = 1x12 Celestion Alnico Blue Vox 2x12 = HP Celestion Alnico Silver Bell, HP = Supro 6x9Supro
* MIC x 8: Coles 4038 Ribbon, Condenser Neumann U 67, Neumann U 87 Condenser, Royer 121 Ribbon, Sennheiser MD 409 Dynamic, Sennheiser MD 421 Dynamic Shure SM57 Dynamic On Axis Shure SM57 Dynamic, Off Axis
* DYNAMIC x 8 Boss CS1 Compression Sustainer with the Treble switch off, Boss CS1 Compression Sustainer with the Treble switch on Line 6 Noise Gate Line 6 Vetta (sensitivity), Line 6 Vetta (amount), MXR Dyna Compressor, MXR Micro Amp, Teletronix LA-2A Compressor Optical
* DISTORTION x 15: Arbiter Fuzz Face, Boss MT-2 Metal Zone, Chandler Tube Driver, Colorsound Overdriver, DOD Overdrive / Preamp 250, Electro-Harmonix Big Muff PI, Ibanez TS-808 Tube Screamer, Line 6 Drive, Line 6 Distortion , Maestro Fuzz Tone, PAiA Roctave Divider, ProCo Rat, Roland Jet Phaser/AP-7, Tycobrahe Octavia, Vox Tone Bender
* MODULATION x 22 A / DA Flanger, Boss VB-2, Boss CE-1 Fender Deluxe Reverb amplifier, Vibratone Fender, Ibanez Flying Pan, Leslie 145, Lightfoot Labs GoatKeeper, Line 6 Panner, Tremolo Line 6, Line 6 Phaser Line 6 Flanger MXR, Line 6 A / DA Flanger, Shifter Line 6, Line 6 Ring Modulator, Mu-Tron Bi-Phase, '70s MXR Phase 90, MXR Phase 90, MXR Flanger, Roland Dimension D, Songbird/DyTronicsTri- Stereo Chorus, Uni-Vibe
Updates the pedal and the publisher are easily the "LINE 6 MONKEY" and all these sounds are programmable and configurable via the pedal directly with the publisher or PC / MAC "HD500 EDIT".
The specifications of this version are the following pedals: 8 simultaneous effects in series and / or parallel in 2 loops, 1 amp or 2 amps in parallel, Dual Tone Amp, 512 presets, 1 loop recording 48s, 1 Chromatic Tuner , 1 Tap Tempo
For the part of the connection: Guitar Input Jack 6,35 mm, 6,35 mm Aux Jack, XLR mic input (with level control), Balanced XLR outputs (L + R), Output Jacks general asymmetric (6.35 mm G+ D) Effects loop in stereo 6.35mm Jack, Headphone Jack stereo 6.35 mm, CD/MP3 input, USB, USB MIDI, MIDI I / O, digital input VARIAX out, S / PDIF socket for pedal, L6 LINK
UTILIZATION
The configuration is ... how to say ... A "gas factory" ... yes ... This reflects the major problem of this kind of product any brand. Wanting to do everything, it comes to something necessarily complex to master the key with a certain learning time. In short, if you like simple things go your way or go to your doctor to prescribe you anti-depressants!
Fortunately it is possible to go through the PC editor "POD HD500 Edit" making things "intuitive and easier" without necessarily having to read the manual which is also well done. But hey, if you want to make a new "PRESET" PC-I wish you a lot of courage ... and rehearsal or concert unless you have a PC next to you, if you want a little play anyway you touch the pedal potentiometers to refine over the place and other musicians settings distortion volume and tone ... better to create a new "SOUND" quietly at home ... Finally there who have tried and have had problems
SOUND QUALITY
After 2 years of use, I can say that for the part because there are too many things, which sometimes have minor differences and finally we hesitate about choosing a type of distortion, chorus, whawha of flanger ... Otherwise for the simulation, I think this pedal defends well and can be placed where you want the effect as you want in series parallel. It is a kind of laboratory trials must admit more solutions inaudible qu'exploitables ... better not to think outside the box!
Otherwise side amp simulation, a Marshall actually does not sound like a Fender or Mesa Boogie as a! To say they sound like the originals and well I'd simply being "nice" that the pedal does what he can.
In the end, of course, that this machine can not do, 500 € not expect a miracle not more! But you will find still sounds very good and very well. And the best way to have a clear idea on the part of the simulation models of this device is to listen directly:
In summary:
* For clean sounds, sounds damned good here and the settings can be sure to get a clear and according to eventually cruncher with emphasis on strings and / or using a dual microphone ... POD reacts to attack like a real amp.
* For crunch tones, we find the color and to a certain extent how to play on a tube amp with bass and lower midrange quite round ... No, this is not true, to be convinced it's best to play a riff to AC / DC
* For overdriven sounds, although well below a real tube amp worthy of the name, there is dynamics, sustain, a bit of warmth and harmonics. Short enough to cover all styles ...
For me, the main problem with this amp simulation is that whatever the amp used crunch or saturation grain is always the same! How to model for me to review ...
OVERALL OPINION
In conclusion, for € 500 this pedal is convincing but do not expect an efficient modeling amps ... I expect Line6 finally passes the convolution in the same price range: is it going to be the next (r) evolution??? I hope so ...
+ Crank sober and solid
+ Good sound in the sounds clear and Crunches
Saturation + for all styles of music
- Modeling amp unrealistic
- No ON / OFF switch
- Too effect and some similar
- Switching expression pedal hard