gunpointmetal

I don't think that Robben Ford tone would work very well to play that first song........hahaha. Neither of them sound like "a guitar" they both sound like different amps. Thats the great thing about electric guitar, it doesn't have to sound like a guitar.

Two pedal presses is still pretty efficient considering you can literally change your whole rig with effects control. Even in ABCD mode you still have 5 effects on/off switches available (top row plus toe switch) which can have multiple effects assigned in a variety of combinations you still have a lot of control.

No issues on a low-budget HP touchscreen laptop with 8.1 or my Yoga 2 (btw, the Lenovo Yoga series is great, SSD, i7, 8Gb RAM, convertible body) but i do find that some of the adjustments are hard to do accurately on the touch screen.

A boutique pack would be kind of cool. I'd rather see some more advanced cab models or effects add-ons, as I think they've covered all the bases in the amp section (well, maybe more for bass for recording purposes). The whole wet/dry via USB thing would be the balls, as well.

do you have the same issue with the onboard pedal? I was actually pretty happy with how the sweep moved on the Pitch Glide, but I pretty much only use it as a static-interval harmonizer without a pedal engaged or for two-octave simulated tape-stop effects.

I don't have a DT or L-series monitor, but wouldn't the tone controls on the StageSource stuff be your global EQ for "in the room"? I wish the global could be assigned to AVOID the XLR outs so I can EQ my sound on stage without affecting whats hitting the FOH.

It would require more than bluetooth...bluetooth is way to slow for live audio

lol at the MSRP

Set-up your patches at the volume you intend on using them....as mentioned about 1.6 million times on these forums. Unless you're referring to using the MP3 at the intended volume to level patches? But even then the output level makes a difference.

I'm sorry dude, but this is bad advice with a modeler. I get leveling the patches to the MP3, but volume absolutely has an effect on how tones sound and how they level across several presets. At headphone volume, my recording patches are all about the same level, but if I plug them into my PA and play at "gig levels" my cleans and overdrives are nowhere near sounding like the same volume. The Fletcher Munson curve is a real thing that needs to be considered in this scenario.

This is not even close to true. Patches leveled at moderate listening levels will almost never have the same volume relationship when the volume goes up. You should set your patches at a loud, but not unbearable listening level, and level your patches to each other at that volume. Its never going to be an exact perfect translation between your practice gear and a large venue PA, but it will be close enough that the sound guy won't have too much EQ work to do, and you'll be comfortable with your volume/tone.

No.....because without all that fancy equipment (and a brand-spanking-new vinyl) vinyl doesn't sound better, it only sounds warmer, and bares artifacts as noticeable as anything in a low-quality MP3. "Average" turntables sound just OK. Plus, I can't plug that into my car stereo, take it to a friends house, hold 30+ days worth of music, etc. They're different from each other, and each has its merits. I'd rather have the MP3 player.

It really depends on the tones you're after as far as "feel" goes..... I played a tube rig for a few years (Carvin X100, a dozen or so pedals) but I, for my uses, was always fighting that "spongy" feel. So modelers "feel" right to me. I don't want my amplification affecting how I play. Probably why I practice unplugged to a metronome. I have to say though, a POD HD500X with a pre-only amp model, no cab, and stack return output mode into my Powerblock and a 4x12 "feels" just as good as my old tube head, my old Randall SS head, etc..... I've always said to people who ask that if you just wanna crank up, turn a few knobs, and go, get a tube amp. If you want to have micro-control over your tone and make it YOUR tone without adding hundreds of dollars of crap to your tube amp, try modeling. The sounds are there, the feel is up to the player (I think), and the cost/usefulness ratio is off the charts.

Nobody asks me what modeler I'm using, they ask what amp I'm using. As soon as I tell them its a POD HD500X, they act like they didn't really care for it in the first place....

It already has for me! I haven't used a solid-state or tube preamp in about 12 years, and I'm working my way into a full-range rig for live shows.....

I use these live through a Crate Powerblock and a 4x12 This one I use for deathcore-ish-breakdowny stuff: http://line6.com/customtone/tone/848340/ This one I use for stuff that requires more notes: http://line6.com/customtone/tone/848345/ Obviously, YMMV, as I am using them with 8 string guitars with hot passive pickups (SD Nazgul/Sentient) but I like how they sound onstage and they come out of the PA accurately when mic'ed.You'll probably need to adjust the gates to your style, and adjust the amp EQ's a little.

As long as you're using an off-line computer with a solid state drive to handle the DAW containing your automations, I'd say you're about as likely to have that fail as to have any other piece of gear in the chain go down. That being said, I would probably still have all the switches and changes manually available just in case. NEVER EVER USE YOUR PERSONAL NETFLIX-FACEBOOK-BOOBIES computer for live work...bad, bad, bad idea!

I don't think there is a way to do that that is going to be any easier than mic'ing your amp and using it the way you have been. You'd need splitters and switchers and more cables. Maybe a different full-range monitor option would be better? I've used those Bose systems a few times and they sound "good" but they've got no real "balls" like a live amp or a biggere PA rig. I personally think Bose stuff all sounds like everything is run through a Sonic Maximizer (fake Hi-Fi by boosting the real high highs and filtering the bass into the subwoofer, with out much presence in the lower-mid range). Try it through a different powere PA speaker and try creating your patches through that speaker, at "bar gig" volume.

yeah, thats pretty much exactly what I said, lol. I'm sure lots of metal bands in the past have used Fender amps for cleans, too (dude from Mastodon uses one live right now for cleans) but they're not metal amps. I understand why metal guys WANT the amp......but it's not really a "metal" amp like the others in that pack.

Just make sure you're building your live presets at your intended volume through a PA system. I like to do my tweaks when another band member is there to confirm or deny what I "think" sounds good. If you're having clarity issues, but the volume is fine, turn down some gain. Live heavy guitar NEEDS lots of midrange, too, so don't scoop out the mids.

JC-120 is not a metal amp. Metal bands used a JAZZ amp for cleans in the studio because its, well, really clean. That doesn't make it a metal amp.

I've been considering this (well, something similar) for a Full-Range rig. Are you using it in true stereo (different signals in each speaker) and if so, have you noticed any negatives to having both sides in the same box. I do with with a guitar amp, but there is less frequency range to worry about inside a guitar cabinet. Also, are you using the tweeters/crossovers in the speakers or are they combined coaxial. I really want to get a consistent tone from gig to gig and avoid having to bring a mic for my cab to get it into the IEM rig we're using.

Plugging a pre-amp into a pre-amp in a guitar chain is bad idea, for the most part. Especially if he's trying to come up with patches that will work relatively the same across a variety of similar, but different rigs. The closest to "same" you can do between your set-ups is to go into the FX return with pre-only models. Even then the speakers/cabinet will impart something from space to space. "EQ'ing the rig" means adjusting it each time he walks in the room, depending on who used it last. Having a set of patches for each rig means plug in and play after one initial adjustment. Ideally, if you want tonal consistency going into a PA with full models would be the way to go. Even in that instance you couldn't just take your home practice/headphones patches an have them sound good at performance level without EQ'ing a bunch somewhere after the POD in the chain.

I'd only consider it if you have a need for a rack unit, or you're running into the DSP limit on a regular basis. Otherwise you pay $200 more for a few more I/O options and a power switch, plus you need another controller if you want to be able to change patches with footswitches.

yeah, this should get you the closest between rigs as a starting point. Make sure your output mode is set to stack return. For your style I would go with a signal chain something like gate(if you want one)->Overdrive or Fuzz-> treadplate model (pre-only version, NO cabinet simulation) and then whatever delays/reverbs you like. One thing for sure though is you're going to want to set this up at rehearsal volume. If it were me, I would make copies of the patches I like in one rig, then EQ them to match the next rig, and so on. You have 512 slots for custom tones, no reason to NOT have patches for each rig. AH Ninja'd by the above!