I'm sure there are some of you (besides me) that can't upgrade to a Helix or Kemper anytime soon... I thought I would share what I consider the HD500's best kept secret. (I have no idea if this is an option on the HD300 or HD400) My setup... When I play my HD500 it is direct to console and I either monitor through my own monitor mix, or through an FRFR cab. If you plug yours into an amp, this may or may not have much effect. Backstory... when I first got my HD500 I found it to be very "hi fi" compared to the X3 I had previous. The tones were better, but there was an "ice pick" high end and boomy low end that I found difficult to dial out. The "ice pick" is similar to standing in a 2x12 speaker beam. This was not the "amp models", or "speaker sims"... it was something inherent in the unit itself. Subtle, but annoying to me. Enter the "best kept secret"! The "mid focus" EQ. Yes, that EQ that nobody uses on the HD500 is my secret weapon. It fixes the problem I describe earlier while adding depth to everything, including acoustic, mandolin and dobro patches. The tones become more dynamic and sit in the mixer nicer. Caveat: There is an inherent problem with the Mid Focus EQ... It is NOT intuitive. There is no clear explanation of what it is, how to use it, or what it even does. The default setting when you add it is really ugly and LOUD... after fiddling with a few parameters it only gets worse (because of #1) and it gets removed and never looked at again. What is it? The mid focus EQ is a very powerful and flexible "High Pass / Low Pass" filter. It is not transparent (like the global EQ) but the color it adds is why I like it as much as I do. How to use it? Place it last in the chain... I put it right at the end of every chain, but it should - at the very least - be after the amp block. Don't play a single note with the default settings . Change those immediately... start with these. High Pass Freq: 0% (raise this to roll off low end as needed) High Pass Q: 50% (no need to ever change this... unless you really know what you are doing) Low Pass Freq: 100% (lower this to roll of high end as needed) Lo Pass Q: 50% (same as High Pass Q) Gain: 12% (no rhyme or reason, but this setting is roughly unity gain) Now play your patch with and without the mid focus engaged. You should notice the low end is tighter yet punchier, the high end is softer (like a beautifully broken in speaker) and the mids are richer. All while retaining the fundamental tones of your patches. On my electric patches I run the HPF around 15% and LPF between 65% and 80% depending on the patch. For acoustic patches (acoustic, mandolin, dobro, etc...) I run the HPF between 15% and 25% and the LPF at the full 100%. If you dig in deeper you will learn the "Q" creates resonant peaks with increased values and resonant valleys with decreased values. Don't go there unless you really know what you are doing - leaving those settings at 50% will suffice for most.