BucF16

No idea what I'm doing right but using Logic Pro X I've dumped the tracks into a new file and they've been just fine. Logic asks if I want to change the project to 48k, I say yes and tell it to create new tracks and away it goes. Really been pretty slick.

Thanks Db Would it be safe to say that the problem is worse over longer run of total speakers or just a longer run of one cord? For example, 6 L6 speakers with 10 ft of cable between each one, or two speakers with 49 ft of cable between the two? Is the problem compounded by multiple devices of differning types on the link? For example, 4 monitors, 2 subs, 2 mains versus just two mains? Thanks in advance. Not trying to be pedantic, just trying to understand the nature of the Line6 Link.

Did an outdoor gig with a soundman in a city park. Big setup, big rock band using all inputs and right on the edge of maxing out the speakers. Nice gig. At the end of it I save the soundmans' setting, having never heard them out front. SD card formatting failed so we got no recording of what we sounded like out front. Big field, like a ball diamond with a stage at home plate kinda. 2xLM's and 2xL3s were just big enough to play it. Next weekend gigging at a bar and because of a closed circuit MMA fight they won't give us a chance to sound check and want us to start as soon as the MMA fight ends. I pull up the same settings we had from the end of our outdoor gig, get a very minimal levels check, and we're off to the races for the next four hours with no soundman, hoping that it sounds as good out front as it sounds on stage. We had an amazing response from the crowd, best gig we'd had in at least a year. When I got home and checked the SD card it had recorded just fine and captured 90% of the gig. I replayed the gig through the PA just to get a glimpse of the sound. By god it sounded fantastic. Really impressed considering no soundman. Once our soundman got our levels right from the previous gig and we saved it, it was enough for us to jump right back into a different venue with no soundman, get some minor tweaks and rock it out for 4 hours. No way we could have done this before. Really amazing and flexible equipment. Rarely have I been so excited about a product after I've owned it a couple months. It's really great kit.

Using my non-compliant Class 10 64gb card I was able to record an entire 4 hour gig no problem. Prior to the gig I went through the trouble of actually erasing the disk, not just re-formatting, but writing zeros over the entire disk. Took a while but worked like a champ after that. Post gig, dropped them into Logic and had them cut into songs and mixed down within a couple hours. Easiest I've ever seen.

Thanks for the responses. My original premise hasn't solidly been addressed. In my opinion and experience, analog signals are actually much more complex than digital signals. ANY degradation of an analog transmission causes degradation of the resulting audio. Degradation of digital signals must be enough to turn an "off" to an "on" or vice versa, or there will be no degradation at all. An analogy would be digital vs old analog cell phones. Digital phones need much less energy to transfer greater distances. Everyone can probably remember battery life and cell range just 10-15 years ago compared to what it is today. Much of that increase in capability is due to increased fidelity of digital signals in the same environment. I could be wrong, but I thought this was a foundation of most of Lin6's wireless mike and guitar technologies. Arne responded that the sharp edges of digital signals are preserved better, but I'd argue that this is LESS important for digital signals than for analog signals. Why are the edges of digital signals more important than the much more detailed edges of analog signals? Begging the question, if the pathway is good enough for hi fidelity analog, why isn't is good enough for hi fidelity digital? I'm not saying that you guys are wrong, only that I have yet to hear a reason that makes sense to my somewhat analytical mind and my experience. So far, using my system, I haven't had any trouble with cables EXCEPT the actual connections. I've had plenty of trouble finding XLR cables that fit snugly and will stay tight through the rigors of a rock-n-roll bar gig! But, any XLR that I have in my old bag of cords has seemed to work just as well as any other...as long as it stays connected! I would be interested to hear why 110ohm is particularly good for digital VS analog if someone could put on their geek-hat and explain it using medium sized words. My background is technical but I'm not truly an engineer. So I'm happily awaiting a better argument for buying special cords while playing the role of contrarian.

OK, I'm going to be a troublemaker here and I apologize in advance. I've worked with digital and analog RF datalinks in "non-permissive" and intentionally jammed environments in the military for a long time. My experience is that digital signals, in the same medium, travel with much more fidelity than analog signals. To put it another way, analog signals are much easier to jam and disrupt than digital. Much easier. I've been on both ends of that equation, both as the jammer and the jamm-ee if you will, and digital signals are much more robust, at least in the RF world. So, I do not understand why a cable that I would find acceptable for hi fidelity analog signal transmission would not be suitable for digital transmission. Your comments are welcome.

I had a couple cables that just wouldn't snap in tight and stay. They seem good at first but when people start moving around and band members step on the cords or bump the monitors, or through the vibration of the speaker, the things work their way loose. One fell out entirely. Tried to fix with gaffers tape but wouldn't stay tight and cause speaker cycling as the system went into reset several times. My band mates are not as tuned into the system as I am, but I'm slowly getting them trained. I can't set up everything by myself. Plus, last night because of the MMA fight, the bar we were playing at would not let us soundcheck. Consequently we had a couple of issues to work out in the first set. My point is, if you have an M20D, you should call up the "manage L6 link devices" page and look at what's happening their while your speakers are misbehaving. That's frequently a great clue for the first place to look. If devices are dropping off the page and reappearing, then I would think that's where you have the bad cable or connection.

I've had this happen frequently and it's always been a cable connection. Trying to train my bandmates to make sure the connections are solid and tight. If this happens again, call up Line6 Link properties page and see where/if the "downrange" speakers are cutting out and that will show you where the problem is. I had to replace 2 cords last night in the first set for what sounds like the same problem. Worked perfectly after that but it was literal show-stopper.

Mine smell so much like weed that I started burning incense in the studio after gigs. Even my wife told me they smelled like weed.

That was some nice work! Thanks.

Yep, I feel stupid. I has the feel of a pop-in arm, especially with the adjustable tension screw. I could have sworn I popped it in and didn't thread it in. Again, a plea for better documentation! The manual has a ton of stuff about the models and very little about the actual guitar. Ironically it was the fantastic owners manuals of the Axsys and Vetta that originally drew me to Line6 products. Sadly, those contributors have either moved on, been promoted or been out-sourced.

Just a thought, if you haven't tried this. I've had my L2's really want to resonate when playing a D chord (F# is the 3rd so a very strong harmonic?). BUT it only seems to happen in my home studio with the speaker setup as a floor monitor. With it vertical or off the floor I haven't had the problem. So maybe try moving the speaker or trying it in another room? FWIW, my L3's have been amazing no matter where I put them. I've rarely been as happy with a purchase as I have been with my L3 and L3 Subs.

Seems like a stupid question but I can't get the thing out of the guitar! Is there a trick to it or am I just afraid to pull as hard as I need to to get the trem arm out of the bridge!

If I have a endorsement deal with Line6? The reason: When I gig I have Total Stagesource/Stagescape PA (L2's, L3's, L3S's, M20D) DT50 (sometimes 2) and HD500 JTV Variax G50 wireless I'm a keyboard player and use a Yamaha S90xs too, so I got the Yamaha thing going too. I gig out 3-5 times a month with 3 different bands. Just enough to keep my wife from killing me and so I don't lose too much money from my day job! I've owned almost every amp they've made starting with the AXSYS. Gigged with a Vx700/Vetta rig forever. Owned every POD except the X3. So here's my question: Can I at least get a T-shirt from Line6? Maybe some stickers? OK, honestly, what level do you need to be at to get artist pricing on equipment? Maybe beta testing, got knows I play enough.

Four day a week crossfitter here. Maybe because my workouts are so exhaustive, I yearn for something lighter to avoid over-training. As an aside, I had a chance to play it side by side with a Taylor T5 and a Taylor 600? series acoustic. I would say that it approximates the T5's tone but was noticeably sterile vs the real acoustic. Suprised? Not really.

I actually liked the look of my 700. I had no shortage of people asking me about my guitar between sets. It was a beautiful gold color with great grain and the lack of pickups made for a cool, clean modern look IMO. HOWEVER, the JTV destroys it in everything that really matters. JTV modelling is WAY better, especially with the removal of what came to be the ice-pick-to-the-eardrum ping on the old VX. Not very noticeable at first but if you played the guitar a lot (like I did) it came to be that little thing that drove me crazy. Intonation on the 700 was awful at first, But I was finally able to fix it by gently filing the nut, and then I replaced the nut altogether with a graphtech nut. It was a good girl after that. The trem on the JTV will also keep playing way deeper into a dive than the 700. Getting a 700 with a tremelo bar was really a waste. You could add tremelo with the thing but you certainly couldn't go deeper than a whole step down without the sound disappearing totally. I haven't measured it on my JTV but its vastly improved. Right now my only complaint on the JTV is how incredibly heavy it is.

You will save yourself some time on this one by only using exactly what they say to use. My advice is to spend the extra cash for the airport express and the apple usb/ethernet connection. It gives you the ability to stream back music from any iOS device on the net.

Mine wouldn't record on first attempts. Then I re-formatted the SD card and it's worked OK since then. I have a 64gb card, which I only found out recently "isn't recommended" but I've used it several times and only had it quit on me once. Anyway, if you haven't tried it yet, re-format the SD card. And yes, they need to document their SD card limitations a little better.

Got it. Honestly, the advanced guide has a very concise statement on compatibility that is clearly incomplete. I purchases a Class 10 card that appears to be compliant with the Advanced guide but not with other online guidance. Also had recording questions in a previous thread where none of these sources of information were brought up. I guess now my question is, why in this digital online day and age, can't Line6 update the advanced guide and have it posted by sundown? That would have saved me some time and money. It's not like they print and send that thing out to you anyway, it's completely digital.

I'd love to jump on the L6 hate-fest bandwagon but after about 15 minutes on hold, the nice man at Line6 support is sending me a new model selector knob. If it gets here and all works fine, I'm a happy camper. For the record, I had a similar thing happen with my original Vx700, and they sent me a new pickup selector 5 way, no questions asked.

SiWatts, How 'bout citing where your "quote" comes from because my search couldn't find that in the manual. Additionally I mentioned this in another thread and no one named Line6 responded that 32GB was the design limit. The advanced guide's statement on SD card requirements is quite short, and mentions neither a maximum size of the card or SDXC or SDHC.

Had a JTV69 for less than a month now. Right out of the box there was an issue with the model selector knob. The LED backlight didn't shine through the T-model and Custom 1 setting even when it was on. Worked fine for all the other settings. I was going to get around to getting it fixed but have been out of town. Last night played my first gig with the guitar and when we were cleaning up, someone brought a shiny knob to me that they found on the floor. Lo and behold, the "chrome" cap on the model selector came off sometime during the gig and won't stick back on. I'm guessing it's glued on and the glue just wasn't enough? I was lucky someone found it in the dark in the grass next to our stage in an outdoor gig. So my question is, can I just get the entire knob sent to me and pop a new one in? I could probably glue the old cap back on my self but I'm not exactly sure that's how it should be, plus I'd love to have a new knob that the LED worked properly on. I have no huge desire to drop my guitar off for servicing, as this seems like a simple fix and I've found some of the local service centers to be "black holes" for equipment and money. Thanks in advance for any help.

Recorded part of a gig on SD card last night. I was playing and a buddy who's not as smart on the system was running sound so my info for the post is second hand. Using a 64G SD card, freshly formatted, Made 3 recordings. One short test recording, then the first set, then the second and part of the third on a single recording. In the third longer recording, the recording stopped and the sound man was unable to restart it. He was unable to relay the warning dialogue that the mixer gave him to me and I didn't find out about it until the gig was over so my info is somewhat incomplete. Here's the data I have though. I recorded all inputs and the main mix. The SD card currently shows 44GB available, and 14GB used. The first file is only 12 MB. Second file is 3.6 GB and recorded no problem Third file is 10.64 GB and is the one that kicked off Largest individual track in the third file is 1.42 GB (the stereo mix). I didn't get anywhere near the 4 hr limit. Maybe 2 hr max on the third recording. Any ideas on what could have gone wrong or what I can do to prevent it in the future? As an aside, this was my third gig with the system and my band mates are for the most part blown away by the speakers. Pretty sure they're all going to buy some more here pretty soon for their other band projects and also because they work so well with my system. My old soundman has even broken down and put his Allen and Heath GL2400 up for sale.

Anyone know anything about this? http://www.fullcompass.com/product/341653.html As I have an old vx700 that is electronically kaput I'm considering this as an option.

Just upgraded from from HD500 to 500x. Where in the old Pod I would hit the DSP limit ALL THE TIME I rarely hit it with the 500x. Foot switches alone aren't more of a dif than the DSP limit.