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Everything posted by wolbai

  1. It is pretty hard to resolve different results at that point. And I doubt whether this is really necessary... May be the fact that my amp is a DT50 and not a DT25 is a root cause for different tonal results. In any case: I am talking about a gig volume level and not a bedroom volume level. I hardly can imagine to hear that much differences at bedroom levels. I personally do not care that much on the sound at bedroom or headphone levels. I use to practice with my POD HD500 at home and a decent headphone. That is pretty fine for me. And I use mainly the same presets (with pre amp models) as for live gigs. I have used this new setup on several gigs and for a 3 days studio recording session so far and I am very pleased with a 50%-60% POD Master volume and a 50%-70% DT50 Master volume level. This configuration brings more power section saturation to MY tone than before (old configuration: POD Master volume at 100% and DT50 Master volume at approx. 25%) with SPECIFIC amps as mentioned (not the clean ones). And I can pretty much more easily adapt the overall volume level to the specific environment I am playing without much negative impact on my tone with the POD Master volume as before. There is good range between 40-60% on the POD Master volume to MY ears where I can adapt noticably the overall volume level without loosing too much power section contribution to the tone. And I also agree that the more to you increase the POD Master volume to 100% the better these power section results (on specific amps) are noticeable. But the tradeoff is that the volume level is just too high for most locations to play. Regarding the Marshall Plexi Lead I am using the Bright pre amp model with amp volume at 100% for Rhythm and lead tones. On amps like the Soldano and the JCM800 which I use frequently, I also have discovered good results in tone by increase the DT-Master volume and reducing the POD-Master volume (again: at the same HIGH volume level as before). I therefore have kicked out some distortion pedals in several presets or I have reduced noticably effect paramaters like compressors and let therefore the power section contribute to a distorted tone. I do not think that we are talking here on the level of mistakes. Simply speaking if it sounds good to me - it is good and I am not wrong. And it is fair enough to say that this does not necessarily apply to everyone.
  2. A clean amp like a BF Double will not show that much difference in tone when turning up the power section on your DT (the only exception his, if you hit the string very hard you will not hear distortion). This is pretty much the same as the the original amp (I think Fender Twin Reverb) behaves. This amps stays clean at the highest volume levels. That is why many people love this amp for its outstanding cleaness. The difference can be heard with amps which needs a hard hit on the power section to get saturated. These amps are for example Marshall Plexi, or the PARK-75. Try them. Set your Pod Master volume at around 50% and your DT master volume to 1 or 2 o clock (that is a volume level a play at rehearsal room with my band). Do the same with these amps with Master volume on your DT at 25% and the POD HD master volume at 100%. Don't use any distortion, OD effects or compressors in the signal chain. You should hear a significant distortion level with DT Master volume turned up compared to the second test.
  3. The beauty of forums is that we always can agree that we disagree :D
  4. As an additional comment to radatats explanations: I suggest that you test it on your own, if the equipment is available to you. Ears are at the end of the day always the best proof IMO.
  5. ... I have overseen which came along with the new POD HD firmware 2.20 in November: POD HD 500 Master volume control in relation with L6 link. And today I had some time to check it out at the rehearsal room with my DT50 Head and the POD HD 500. Although there is already a Thread in the POD HD forum I thought it is worth to place my feedback here, because a lot of non-DT25/50 consider this new firmware as worthless. But this is a totally different story for the DT25/50 user which are using this equipment for live performance / professional usage IMO. And I think this tiny little feature is ground-breaking! One of my biggest challenges on the DT50 in the past was to manage the bloody high volume amount which comes along when turning the DT25/50 master volume in the area of 50% and above. Unfortunately this was the only option in the past to push the power section for tube saturation of some amps like the Marshall Super Lead Plexi, Park-75, which I am using quite frequently. Pretty the same way as the original amps expecting to make them shine. I therefore have started 1 1/2 years ago using (several) power attenuators to run my DT25/50 in master volume level on approx. 70% to benefit from power section tube distortion. But approx. 6 months ago I stopped using a power attenuator, because all of them I have used (also a RIVERA Rock Crusher) where not able to deal with effects like delays, reverbs and some mod effects in a proper way IMO. So I completely changed my presets by lowering the DT25/50 master volume to approx. 25% without using a power attenuator anymore. I have compensated the loss in distortion / tube saturation of the power section by intensive usage of dist pedals and tube compressor. All in all this was somehow a bit of a compromise in tone. As of today I am aware the master volume control in the POD HD 500 is a mighty feature. And it is not only just another way to control volume. It is THE way IMO: I have raised the DT25/50 master volume back to old position (when used with a power attenuator) to approx. 70%. And I have reduced the overall volume with the master volume on the POD HD by reducing from max to approx. 45%. The outcomes: - pretty much more headroom for clean tones; my existing clean tones had some kind of distortion level due to the low Dt25/50 master volume setting (not really surprising). - the tones on distorted sounds with amps like, Marshall Plexi Lead, JCM800, Soldano are (again) stellar. - The overall tone seems not to suffer by lowering the POD HD output as the input level for the DT25/50 IMO. - No need for LVM mode or a power attenuators IMO any more to manage high volume. As a consequence of the new POD HD firmware 2.20 I need to rework my presets by reducing the usage of distortion pedals, tube compressor pretty much in the same way I had my presets when using a power attenuator. A lot of distortion I need can be done now again just with the amp-Equing. The weird thing to me is that this mighty feature is available somewhere pretty late in the life cycle of the Dt25/50 amps (DT50s are no longer available in bigger Online stores like THOMANN). Anyhow: one of the BEST features which came along with a POD HD firmware releases in the last 2 years IMO for L6 link device users and a very welcome year end gift from Line6 !!!
  6. Hi and welcome! A lot a different questions ... I try to pick some up. When using the DT50 with a POD HD the standard way to configure is running the rig OVER channel A. Channel B is not need with a POD HD. You can do everything you can do over channel A. This is the default usage. Channel B is for stand alone usage (without a POD HD) and a footswitch. Some new users try to use this channel B as well with a POD HD. This is misleading too me and soon gets complicated and it is also limited what you can configure in your signal chain. For example all the effect blocks are only before the pre amp section and not behind when used channel B. So my recommendation is: DO NOT FOCUS ON CHANNEL B when used with POD HD. Setup your rig via channel A - the default setup. (And there is also no need to use a separate footswtch). There are some user which have integrated the channel B in their rig, but you should not start with that. Use the pre amps from the POD HD to set the pre amp section of your tone. It is up to you how to use the reverb. Some use the reverb on the DT50 to save a slot in the signal chain. I do not run out with my slots. So I use the reverb from the POD HD. Start with 3-4 basic presets like: clean, crunch, distorted, lead and only one amp and assign them to the POD HD. EQ- these basic presets with your amp EQ knobs to your taste. Once that is fine for you, add some effects in the signal chain. Then you can build up from that. Think about what amps do you really need. Do not choose too much. The same applies to effects. The Line6 gear is great, but it can be a trap with all the possibilities and you may find yourself too quickly in a lot of complexity which you should avoid when starting. (This may sound a bit abstract and not from experience, but I have gone through all of that). Switching your tones via the fotswitch over the POD HD. Switching presets with a complete different signal chain (amp blocks, effects, etc.) has a little delay. But this has never been a real issue for me when playing live. I have always found good workarounds for that. When you choose the ABCD FS-Mode then you will cut for example the delay between two presets. That is something you to deal with. With the FS 5-8 mode the delay trails will be kept. Clean sounds can been very smoothly morphed into distorted sounds via the expression pedal within the same preset: you can assign different parameter to toes and heel position. I use 2 pedals to switch effects and amp parameters. Works great for live performance. I guess a lot of questions will come up at a later stage as well Ask them here, if you do not find already some answers in existing posts. Good luck - hope that helps initially.
  7. Well, I am not searching for peanuts to make my day. I have respond to the original post here which has brought up that point. And yes there are for sure (playing) workarounds for that as there are lots of other workarounds user need to develop to adapt the equipment to their specific needs. I am not technical experienced enough to say whether this is realistic to be solved by a future firmware or not. I tend to say that it is unrealistic too. But I am experienced enough to say that this is a wrong modeled guitar behavior: Any standard guitar with magnetic pickups deals pretty well with pup-switching when playing HI GAIN sustained notes from position 5 to 1 (I am not talking about pup-switching between breaks or pup-switching on clean tones or anything else). And this is NOT a matter of taste. The only matter of taste in that respect is whether this is something someone feels disturbing or not. I do. The signal chain itself and the amount of sustain which is in there is influencing the degree of awareness in that respect. And it is also different whether to play with a band or when recording. The most noticeable awareness is recording. As audio speaks for itself: Here is a short recording. Just one sustained note. The first one is in JTV-modelled mode (JTV89F) switching from pos. 5 to pos. 1. The second take is with the magnetic pickups of the JTV89F: http://www.soundclick.com/player/single_player.cfm?songid=12594782&q=hi&newref=1 I do hear a difference and this difference is VERY noticeable to me. Finally: the pup-latency in a modeled JTV-mode as I have noticed and described is not a show stopper to me. The opposite is still the case. But my rig usage has gone through a learning curve. And I am using my JTVs / POD HD / DT50 rig remarkably different than 2 years ago like any other player which takes his rig seriously.
  8. Well, I play since more than 2 years JTVs / POD HD500 / DT50 as a gigging rig. And I will continue to us them. But I have thrown out several functionalities (like too many amps, two many guitars, etc.) for simplicity and complexity reasons. It was more a pretty specific lack of functionality I am missing - as described above. The funny thing - my friend - is that I am looking for simplicity as well. But obviously we have a different view what simplicity is all about. And that is fair to me. There is no right or wrong at that point to me. So there is a lot of freedom here that we can agree to disagree at that point :D
  9. You don't get my point: play a sustained note (with vibrato), hold the note and switch the pup-position in the modeling mode from 5 to 1 ... sustain will die. Do the same with magnetic pups. Sustain will be kept. If you talking explicitely on songs lets pickup Smoke on the water and Still Got The Blues: RB plays in the final run a 1-tone bended, sustained D-tone where he switches from position 5 to 1. On a JTV69 in modeling spank-mode, the sustain is killed. The same applies to a specific Outro-Part on Still Got The Blues. GM (RIP) switches from a sustained, bended f-tone (if I remember correctly) from pos 3 to pos 1 on his LP WITHOUT any breaks. And that is exactly the point I am talking about. I do not talk about any stops, breaks, in leadparts, which is very obvisiously that you can switch pup-positions either with the JTV or with a POD HD-preset.
  10. I fairly understand what you are saying ... Honestly speaking I am a bit in the same "down to earth-mood" with my JTVs after several FW-changes and LIVE-performance experience over the last 2 years. As a consequence of all those complexities (and workarounds) I have chosen only to use my JTVs in the modelling mode for: - Acoustic sounds and/or - specific tunings (open G, 7th fret capo, etc.) Everything else I am going to play either with the JTVs and their magnetic pickups or with a different guitar, when really needed. (That is by the way the reason I have swapped my pups in the JTV69). This new approach reduces a lot of my complexity (like adapting my presets on major FW-releases) and still keep the modelling benefits where I really need them. The workaround suggestion using the POD HD500 to switch the pickups positions (I guess with a specific preset, if I have understood it correctly) will cause similar latency problems: A sustained sound which you want to change tonally by switching the pickup position will cause similar latency problems with a separate POD HD preset as it does in the JTV modeling mode. May be not so noticeable, but still there.
  11. I have no experience with the 1st gen variax guitars. If the 1st gens doesn't have this pu-switching latency problem as you have mentioned (where I have no reason why I should not trust your observation) this is indeed a step backwards in that specific feature. Well then you need to find workarounds for it in your playing style or just switch to the magnetic pups like I do.
  12. The only issue which may arise using 9s, is that your Acoustic sounds and also any jazzy style guitars in the JTV modeling may sound noticeably thinner. The reason for that is that these type of guitars are typically use 11-12s. Line6 has done a kind of compromise by installing 10s as the standard to match the different guitars. And this applies to the action they have chosen as well. I also have lowered the action on the JTVs. But the flip side of the medal is you will hear more (unwanted) string buzzing when playing Acoustic parts. As a result of that I have increased the action later a bit. Using 10s or even 11s will likely have the best impact and the JTV models, because they all will sound even more more authentic. The 11s may also lead to a slightly nut modification otherwise the strings will be stuck in the nut when bending or using the tremolo which can cause a bad intonation. Finally everyone needs to weigh the pros and cons on his own regarding string size and string action.
  13. The pickup-switching latency when playing in modeling mode is an existing problem with JTVs. Especially for players who are switching pu-positions in leadparts and most of all in HIGH GAIN leadparts: It just kills the sustain. This is one reason why I have stopped using the JTV-modeling in some songs and go back to the magnetic pups (e.g. Still got the blues, Smoke on the water). And this is even more noticeable when playing the JTV69 or the JTV89 by switching from position 5 to position 1 (or vice versa): the 5-way switch interupts 5-times the played note instead of 3-times on a JTV59. Not sure, if there is a realistic hope that this is going to be fixed by Line6 with a future FW release ... Eventually something where the modeling is still restricted by the physical limitations.of some hardware components as already stated.
  14. I am gigging with the EX1 (approx. 20 gigs) - no problems, reliable so far. May be I am not jumping that much on stage ... Using expression pedals (the internal and additional one) can be indeed very creative. Looking at the pedals boards of pros, a lot of them have two and more pedals in their setup. Especially for gigging pedals can be very helpful to smooth/blend out two song parts more easily. The sky is the limit for creativity here. Over the time I have work out 2 applications which works for me: Apart of the Wah-function, my EXP-1 is mainly dedicated to the delay-mix parameter where I easily can add some delay to any Rhythm or Leadparts - even into extremes. Sometimes I also assign other effects like chorus to the EXP-1 or even two completely different POD-HD presets (2 amps, clean, distorted, etc.) I mainly use the EXP-2 to adapt the gain / distortion level (on same volume level) of my guitar sound: Tube comp-parameter, distortion pedal-paramter, amp-drive, amp-volume are the devices I am controlling with the EXP-2. It is a bit like the old school "volume knob"-control but more versatile to me.
  15. Hi DR-folks, I have installed new pickups on my JTV69, because I will play more with the magnetic pickups in the future as I have done in the past: - Neck/Middle: Kinman AVn69 - Bridge: Seymour Duncan JB-TB4 I recorded therefore an improvisation on a nice playback "Emotive Ballad" (Jamtrackscentral.com) I stumbled over: http://www.soundclic...9&q=hi&newref=1 Thoughts / Feedback welcome. cheers - wolbai.
  16. I decided to go for Kinman pickups in neck and middle position: very dynamic pickups with hum cancelling and still very Strat like, but more dynamic. It was a bit of an adventure, because I was not sure whether the neck pickup could be balanced volume wise with the JB-TB4 humbucker. But it is possible, because the Kinman pickups can be installed pretty close to the strings (2-3 mmm) without negative string waves. The Kinman pickup height needs to be carefully balanced. Especially the middle pickup reacts very different in sound. I am not finished with that. Probably takes some rehearsals and gigs for final tuning. During my research for new pickups I stumbled over a very nice playback "Emotive Ballad" (Jamtrackcentral.com) and this inspired me pretty much. I therefore did a recording with the new pickups. I have chosen the Marshall Plexi Lead amp model in the POD HD500. Mainly played in Position 5,4 and 1. Nice variety of sounds, very less post mixing in Cubase and I think it is hearable how dynamic the pickups are (played also some parts just with the fingers) http://www.soundclick.com/player/single_player.cfm?songid=12560369&q=hi&newref=1 cheers - wolbai.
  17. Thanks - that helps! The FS1 sounds quite good. The FS1 sounds a bit less brilliant in the highs and with more mids than the stock neck pickup IMHO.But that is not bad. So the sound is a bit darker and has more warmth. Propbably because it is wound with more coils and higher output. I guess this pickup will cut through pretty nice in Leadparts played in the neck position in a band mix. I have read somewhere that this old DiMarzio pup was installed in one of Mark Knopflers Strats in the neck position as well. Not shure how the FS1 behaves in a position 4: it probably depends on the middle pickup. In any case, I like to have that bell ringing Strat tone in position 4. Last night I had a rehearsal with my band. The JB-TB4 cuts nicely through the mix :D But I also realized that for songs where I play lead parts switching from position 5 to 1 (or even 4 to 2) the existing stock pickups are just not right any more in terms of volume balance (although they sound pretty good to me). So I tend to replace the 2 remaining stock pickups. What I am looking for is a pickup combination where I can play volume balanced Leadparts in position 5 and 1 and keep the twang Strat sound in position 4 and 2. It is not a problem, if the pickups may sound a bit darker. I guess this is necessarily the case for hotter pickups anyhow. The Kinman pickups (they are humbuckers in single coil format) have pretty good reviews as far as I can see. And they do sounds excellent on some Youtube-demos. They are hum noise reduced and keep mainly the twang sound in position 2+4 without any coil tapping. But - as already said - they cost 155 USD in my country. That is nearly triple the price of a FS 1. Thanks for support! Will keep you informed what pickups I will choose.
  18. Hi, arislaf, a quick recording of the FS 1 in neck position would be great! As far as I have reviewed, it is a true single coil pickup, but with more output (25%) than a standard single coil pup and therefore normal hum - right? Do have any experience with Kinman AVn 69 pickups for Neck and middle position (price is more than double of a FS1) ?
  19. Just googled on them. They are catching my interests (especially the SDS-1). Need to investigate further. Thanks for the tip!
  20. Hi arisaf, both suggested Dimarzio pickups are humbucker in single coil format. That means, installing in the neck position needs additional coil splitting to get position 4 Strat sound. That also means a different wiring than it is shown in the Line6 pickup wiring diagrams ... As I am not a technical person :D I tend to keep any changes in the pickups as simple a possible. EDIT: I think I should ask it a bit different: Does the DP184 require coil splitting to keep the Strat position 4 sound? If so, I would prefer first to look for Single Coil Pickups. Are there any Single Coil pickups in the market for Neck and middle position you could (or other user) recommend where I can keep / use the existing Line6 wiring sheme ???
  21. Hi, for various reasons I recently started to use more the magnetic pickups in my JTVs as I have done in the past. And I think the following can be some kind of interest to user which have the same "Modeling approach". Although the stock bridge pickup in the JTV69 is very well balanced with the two single coil pickups, I always felt the need for more balls, punch and higher output to make that guitar even more versatile for heavier rock rhythm and lead tones. So I replaced the stock JTV69 humbucker (I read somewhere in these forums that it is a modification of a James Tyler Studebaker with 8,8 kohm) with a Seymour Duncan JB-TB4. More details can be found here: http://www.seymourduncan.com/products/electric/humbucker/high-output/sh4_jb_model/ I searched quite a bit to find one humbucker which fits to my personal needs and taste (classic rock, pop, funk, hard rock - no metal). It is a very well known standard bridge humbucker. The JB-TB4 is a high output pickup (16,4 kohm) compared to the JTV69 stock bridge pickup. It is not too hot and therefore retains the typical Strat position 2 tone which is important to me. In position 1, this pickup rocks !!! It has rich harmonics and is great for all Gibson Les Paul type of Rhythm and Lead sounds which I was looking for. Installation -------------- I have to say that I am not a technical person. So I did some research on the web to find the right tools (soldering iron, soldering tin, etc.). All in all the replacement was not complicated although my last soldering exercise was approx. 30 years ago :D As this was just a "simple" replacement of an existing humbucker with a new one, I have to mention that of course it should be done carefully. And it is also important to mention Line6 official policy: "Any customization/modification performed will void the warranty if it results in damage to the guitar. " The Line6 wiring diagram for the JTV69 can be found here: http://line6.com/support/page/kb/_/guitars/james-tyler-variax-guitars/jtv-pickup-wiring-diagrams-r64 I also did not split the humbucker coils. I just did the wiring as the stock bridge humbucker is wired. The Seymour Duncan JB-TB4 has a standard 5 wiring as the stock humbucker in the JTV69. The red/white wire is not used. They are soldered together and taped (no coil splitting). The ground wire needs to be winded with black wire. So all in all: there are just two wires to solder: the black (hot signal with ground) and the green wire. For further illustration please have a look a the attached pictures: Once the new humbucker is installed the JTV69 with a Warmoth Vintage Stratocaster type neck looks like this: I also made a quick recording with by HD500 and a BF Double to demonstrate the position 2 sound and with the Treadplate to demonstrate the position 1 sound: The first 2 licks are on position 2: This humbucker retains the typical Strat position 2 very well. The last two licks are the same. But the first is played with the Gibson bridge pickup JTV-modeling. And the last licks is played with new Seymour Duncan JB-TB4 in position 1. It goes pretty much in the direction of a Gibson Les Paul sound to me. It has very good harmonics. I tested it with my tube amp in the rehearsal room as well and the punch and harmonics are even more shining with a tube amp. Please forgive my sloppy playing; it is really quick+dirty and just to demonstrate the overall sound: http://www.soundclick.com/player/single_player.cfm?songid=12554333&q=hi&newref=1 Now the flipside of the medal: how to balance the JB-TB4 (if so) with the other pickups ??? ------------------------------------------------------------------------------------------------------------------ By the nature of the specs: this humbucker is louder than the two single coils. I therefore have adapted the two single coils in their height to the string to a maximum level which does not generate negative strings waves. But there is still a noticeable volume difference. This is not necessarily negative. It depends on how the position 1 is used. I have not made my final opinion on that. But the humbucker needs to be pretty close to the string (2-3 mm on the bass side) to get that humbucker sound I am looking for. So just to increase the string distance is not an option a want to go. I love the two single coil pickups. They sound great to me (with the exception of the hum in pos. 5 + 3). So I tend to keep them. Not shure, if there are other single coil pickups in the market which will minimize this volume gap to the JB-TB4. Any recommendations from users here to help me on that would be great and much appreciated. In case of replacing the existing single coils, the new ones should not only balance better with the JB-TB4 volume wise. They also need to keep the classic Strat type of sound. Thoughts / comments much appreciated.
  22. Hi cachera, I am glad to be beneficial to you! As the output systems, the playing style and the musical context (recording, practicing at home, Live-perfromance with a band) are varying from user to user, specific user presets like mine, always needs some adjustments to these specifics. Apart of EQ-ing, the gain/volume level is something which may be adapted to the user environment. I mainly use two possibilities in that preset: First is the Mixer. Could be increased up to 7db (that is my subjective experience just by listening) w/o any clipping/distortion. Another possibility to increase gain/volume w/o sound coloration is the Studio-EQ. I have used that second Studio-EQ at the very end of the signal chain solely to increase by increasing the gain-parameter +8db. What I haven't done so far is to play a bit with the positioning of the "vintage pre amp" in the signal chain. I will do some testing at the rehearsal room on that in the next days. May be this will turn into a bit of additional improvement. wolbai.
  23. If this is done by intension, I should have a look in the basement to dig out this old PC and send it to you to extend your recording equipment ;) wolbai.
  24. Just for those who might have overseen it: I have recently posted a recording with my JTV69 / 89F, POD HD500 in the "James Tyler Variax Forum" to demonstrate the JTV FW 2.0 quality on Acoustic sounds and the Gibson Les Paul guitar model: http://line6.com/support/topic/3283-fw-20-recording-martin-6-string-gibson-les-paul/ wolbai
  25. Hi jegler, I like that song: it has its own character ! Very nice rhythm together with the guitar(s), drums, bass. The vocals fits perfect to the instruments and vice versa. Some guitar phrases reminds on a song I can't remember. Unfortunately there is some disturbing noise between 3.-20 sec very hearable. I have had something similar when I recorded years ago with a cheap PC with a cheap audio interface (in my case it was the power supply of the PC which generates that type of noise). And yes, the DI-recording example above is from Little River Band. I haven't made that much testing to record the DT50 with a mic vs. the Direct out. But I would assume my ears would tell me the same like yours. But as I am mainly targeting with my DR for Live-Music at smaller musical events, I try to keep my necessary equipment as minimal as possible. Apart of that the smart thing with the Direct Out for Live-Performance is that you do not get this noise from other instruments. wolbai
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