I like the latest firmware.  It's been so long since I used v1.22 I can't make a direct comparison, but I remember most people dreaded it for high gain because of the drastic changes to the Uber from v1.1.  Anyway, v1.31 is great because it includes the v1.22 Uber AND v1.1 Uber (renamed to Line 6 Elektrik).

Anyway, I'm not sure if Line 6 changed anything in the high gain amp's algorithms from going to v1.22 to v1.31.  If you felt there were negative changes and want to revert; however, there's no real reason not to, UNLESS (a) you use the deep editing parameters (master volume, sag, hum, bias, bias excursion) or (b) you use the Line 6 Elektrik amp model.  v1.22 does not include these features.

Also, in regards to v1.1 vs. v1.22, if you like the way the Uber sounded more in v1.1, I think you should get v1.31 because that version of the amp is included as the Line 6 Elektrik model, plus you have the DEP's to help refine its sound.  You'll notice the default "master volume" on the amp is 100%, which I think sounds horrible.  I turn it down to 50%.  In v1.1, I bet it's modeled at 100% and there's no way for you to adjust it.

Finally, even if the amps are slightly different in 1.31 vs 1.22, you can probably dial out the changes.  In the guide I made, see the "getting the right distortion" section on how to change the way an amp's distortion sounds.  if you click on the link for the tone demo, you'll notice the Metallica Puppets/Justice, Opeth, Dream Theater (80's), Vai, and Petrucci tones all use the Uberschall from v1.31, but I dial out the muddiness.

I've made a few updates to the guide.

There is one major change - the "mic selection" section:

I used to always use the SM-­‐57 on axis for any patch with distortion. It really captures the high-­‐end sizzle cleanly. But something about this mic makes the tone sound like a modeler and not a real guitar tone. I’ve moved towards the SM-­‐57 off axis. Going from one to the other means some EQ adjustments, and I find I generally have to boost the highs to get the same tone. This means the highs are a little less clean – they sound a bit noisier, and maybe a bit fizzier. I find the sacrifice is worth it.

 

I occasionally use the 87 Condenser as well. It sounds “squishier”. You get less high end definition, but the overall sound is a bit smoother. It works well for Metallica tones but not so well for Periphery or other modern metalcore-­‐type tones, which often are a bit grittier. For vintage tones, the 409 Dynamic works well. I use it for some AC/DC tones.

Some people may initially gravitate towards the other mics – some of them have a more scooped sound or more bass. But the same principle applies to mics as to cabs – you want the nuances, not the general EQ. You can adjust the general EQ for the mic, but you’ll never be able to dial out a nuance you don’t like, or dial in one you do. Thus I like the SM 57 off axis because it sounds most natural to my ears as to what a real mic’ed cab actually sounds like, or at least how I’d want it to sound. The other mics simply don’t.

If you’re just trying to create your own tones, I recommend using the SM 57 off axis exclusively. If you’re trying to emulate an artist’s tone, you may find you just can’t get there, even after finding the best cabinet and EQ’ing your

*** off. In this case, I recommend trying different mics. Don’t rely on memory to dial in tones if you’re going for a direct match – A/B them. You simply cannot remember the nuances that you’ll need to dial in.

 

And again like cabs, if you find you don’t have enough effects blocks for another EQ to get the EQ you want, you may want to use a different mic to get that EQ even if you sacrifice the nuances of the current mic.

Other changes include a better organization of the EQ section and various additional details here and there.  I also expanded the introduction to better describe the guide's organization.

ok, the tone demo is updated.

www.foobazaar.com/podhd/toneDemo/