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Everything posted by Rewolf48

  1. My concern with shorting T and S it that it works fine for passive pickups, but what will it do to the JTV electronics if the model is active and you effectively short the output of the active model circuitry? I really don't know the answer here; I would think that it should be ok, but what if it causes an excessive load on the output amplifier or causes higher current drain and something to overheat? Line6 Variax tech psarkissian has warned that just having VDI and 1/4 cables both attached and receiving a signal can cause damage to the circuits as something in there is not intended for the load that results, and I don't need to ask what his thoughts are about doing what you suggest! If you turn the part over it should be obvious which solder points attach to the S and T of the Socket, but the fact that you are asking the question raises doubts about your knowledge and I am not confident that you should do this. I certainly have no inside knowledge of the circuitry other from inference based on the functionality. I would really look at shorting the signal at the pickup/switch end and not the socket.
  2. The main board isn't there today - I am sure it was and they do sell them from time to time; the JTV 89 Main board is for sale: I still don't suggest it should be attempted.
  3. Hah! Just realised why this may not work... often happens just as I press post. The amp models include Hum from the power supply so to get perfect cancellation you would need to synch the re-amping with the modelled power supply and that is virtually impossible. Perhaps if the Hum parameter is reduced to zero?
  4. You can check it out yourself - if you want to. But it does require a computer, the re-amping capability and time. Record a dry track - and the result of a patch on 2.11, then upgrade to 2.21 and using the same patch record it again (make sure tempo is the same too). Then compare the two recorded tracks. If there are no changes at all then these should be identical and inverting one of the tracks will cancel out completely the other track. Line 6 have regularly said that they do make improvements and optimisations but without specifying what those are. I always update within a few days of a new release - only waiting long enough for some early adopter to discover if it has a fatal flaw :)
  5. There is an aspect of bomb going on here as the socket also acts as: 1) Power switch so if nothing plugged in 1/4 and no VDI power supplied then active electronics are switched off 2) Power Supply - the Ground + Ring connections provide phantom power to the electronics with a suitable floor box If the electronics are not powered then the magnetics are passively linked to go direct to the 1/4 output, but if they are powered then the signal is switched to a controlled models or magnetics (possibly just relay connects tip to magnetics unless models are active) Your Killswitch has to interrupt the signal to Tip, but with the PCB mounted socket this probably means breaking a track on the circuit board. If you want it to only work on the mags then I would look at the 5 way selector or even just a single pickup. Before you attempt the surgery have you considered that each Model has its own volume setting, so you could have the Position 1 patch set to Les Paul Bridge and Position 2 set to anything but with zero volume. Swapping pickup positions will drop the output signal whenever position 2 is active. This also works with a LP if you turn one of the volume knobs down to zero. Or if you have an effects unit with a momentary control such as Helix then you can cut all signal when a footswitch is pressed down; even a simple momentary footswitch could be hacked to work this way, if your foot can provide the desired level of control. Another idea is a custom socket: TRS Socket that connects R & S directly to a Jack while the T is grounded to S by your switch mounted externally on the body.
  6. There have been requests over the years for a wider range of bodies and pickup models. It would be nice to be able to pick which body and pickup models are actually loaded into the guitar and therefore have an unlimited range available, but I suspect that this may be difficult; certainly there have been no additions to the range since the JTV 2 firmware was released. You can by selecting various combinations of body, pickup, positions, pots and levels simulate a very wide range of guitars using workbench and your imagination is the limit... but it is a bit of a black art as to what is going to work.
  7. Technically you can buy the key electronic parts separately, but I can't be sure that you can get everything or that buying them wouldn't cost more than a donor guitar! But you would really need an example guitar to work from because there are no instructions with any of those parts or guidelines for the extensive routing needed. ToasterDude has done a few projects - all of which seem to involve the colour purple - but they are certainly impressive looking.
  8. Real world high volume will do the trick :)
  9. I am glad to hear from abonica as he appears to be the product manager for variax... So can we start some conversations about where we the consumers would like variax to be enhanced?
  10. No it doesn't - it doesn't do firmware updates for JTV so definitely not for earlier models. Helix allows Workbench HD to communicate with JTV (both editors open at the same time), but not firmware updates. Line 6 have hinted at a new Helix firmware update process soon and that may change things, or perhaps not - we don't find out until the update is made available.
  11. If you are doing very short cable runs - such as Helix to L2 as a monitor which is only a few feet then any XLR cable will work, the correct impedance is important only for the longer cable runs.
  12. This isn't a huge festival is it... I presume you are Elephants of Scotland as the only US act on the bill. So I don't think there is a lot of spare cash. You could try and find somebody from south Wales or mid-west country England or just tickets who has both you might be able to borrow? Perhaps in exchange for tickets for the sold-out event and backstage access. You can ask here, on the gear page and perhaps the facebook group. If you can match up with somebody comfortable with it then you can send all your patches across and get them loaded (bring backup copy on USB/Laptop as well). Nothing to loose from asking is there? I have a JTV-69 and Helix but I am over 75 miles away and no tickets. I had a similar dilemma as we were thinking of doing an event in portugal that was free food and accommodation rather than seriously covering costs - more a few days holiday on the cheap. But I don't have flight cases and needed both Helix and JTV-69. So it was excess baggage charges and new cases or what...? My solution before it was cancelled was that I was going to take the neck off the guitar and pack it all carefully padded with my clothing in a suitcase.
  13. Or you can use the Helix Headphone out with a 1/8 stereo cable and a 1/4 to 1/8 stereo adaptor - it is what I use for house practices with a microcube (except the microcube is too boxy sounding)
  14. I also use Shure 215's whenever I am away from my home studio After that headphone amp to control levels
  15. Maybe. It is probably a linked pair of variable resistors with the headphone output between the sweep and the ground.On full volume it will make no difference because nothing is going through the resistor, but on half volume it will increase the resistance (same as impedance for this purpose).We have no idea what the internal resistance is, and the impact it has varies depending on where in the range it is set. Active devices always present high impedance to the source and are designed for lower impedance phones - they do the job properly. You spend $1K+ on a Helix and then want to save $22 on the kit to listen to it properly?
  16. Yes - every input is recorded at post trim levels. It means that you can play back the recording including the muted channels - very useful when recording quieter gigs and rehearsals when the drum and guitar amps are muted while playing and then can be heard when listening back
  17. Sorry - I am going to withdrawn what I said before because it isn't working when I try it on 2.20. It works if the switch is set to send the CC while depressed, but this isn't latching so you have to hold the pedal down.... not very useful It nearly works if the switch is set to send a CC toggle between two snapshots, Press to change snapshot ... yes, Press to return to original snapshot... For some reason it gets into a loop and the only way to break it is to pull the cable. I think it is something to do with the state of the footswitch being recalled as part of the snapshot which causes the state to change sending the opposite message which is then responded to changing the switch state again causing the snapshot to change again.... I would call it a bug, but it is more a workaround that doesn't work, Vote for the ideascale
  18. Firmware 2.00 included: "Recall snapshots remotely via an incoming MIDI CC message. A CC69 message with value 0 recalls Snapshot 1, value 1 recalls Snapshot 2, value 2 recalls Snapshot 3, and so forth" If a footswitch is defined to send CC69 and you loopback the MIDI connections (connect MIDI Out to MIDI In) and you disable the automatic sending of the unnecessary MIDI messages such as Patch Change then any footswitch can control Snapshot selection ------ Update: this is not true. See post below
  19. Reference/PA if standing or on a pole. Monitor if on its side and the bass is boomy. You can override with the button. I saw Paul HIndmarsh demo Helix with two L2m and he had them on their sides on the floor in Reference/PA mode. L2M Mix Out or Helix XLR depends totally on where you want the cables to run and on the capability of the BOSE. L2M Mix out is a Line level signal (+4bBu) which will overload any Mic input as will the Helix output if set to Line level, but the Helix output can be set to Mic level. If you use L2M output the "amp" and PA levels will be tied together but if you go from Helix you can control them independently (if you assign the Master Volume control to just PA for example). I generally use mine as a floor monitor pointing back at me and let the room sound come from the PA
  20. Yes, and Yes. There are many - I use one of these all the time; a mini headphone amp: Contrary to what you might think they should be used for I actually use it for volume reduction - especially on Aircraft where they put announcements through the headsets at full volume which is seriously painful if you are using IEM and are on the minimum volume setting. Set the source to a high volume and then reduce it in the headphone amp.
  21. Full size USB ports directly located on a bargain 10" Windows 10 tablet - including a keyboard: Extend the storage with microSD cards Other models are available with more power/memory
  22. I also add subtle studio compression just to help balance levels and help prevent distortion if strumming hard
  23. The Microphone pre-amp model is ... well a model of a Studio Tube Preamp for microphones and it what I logically plug the acoustic guitar into - it gives a little compression, eq, valve warmth and will distort if pushed hard. Litigator is a Line 6 original Amp model that is similar in concept to some boutique amps; it goes from very clean to a nicely distorted sound and it is what I use for all electric guitar sounds. Only one of those is active at a time. I play direct so the sound comes out from the PA and monitors.
  24. I currently have 1 preset and I used it for a nearly 2 hour set last week covering acoustics, jazz clean, edge of break-up strat and heavily distorted les paul. It contains a mic pre and litigator amp, a couple of distortions, chorus, delay, two verbs, tremolo and a compressor. There is spare DSP and I don't use all of the switches. I do have a JTV though. I use 4 snapshots: Acoustic, Jazz, Strat and Les Paul; each of those switches the guitar model, pre-amp/amp and sets various levels such as amp gain. Then I have footswitches that give a level boost and switch the various effects on and off, and the expression pedal controls wet effects, so I can vary the reverb sounds dynamically. Between the guitar volume, tone and pickup selection, snapshots and the various effects I can get a massive range of sounds. My 4 snapshots are the basic tones generally select by song and everything else is immediately available in 10 footswitch mode
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