cruisinon2

No...won't matter one way or the other. Though you should probably charge it periodically, otherwise it'll eventually just be a paperweight. Can't help you with the charger question. I loathe relying on batteries for anything, and never really used it. Frankly, at this point I don't even know where the damn thing is... and wherever it currently resides, it's probably stone-dead, lol. Always powered my JTV with the POD, and now Helix.

In other words: "You can't get there from here..." ;)

Never mind...I thought you were referring to using, for example, one of the Marshall preamp-only models in front of another full-amp model....that's gonna get ugly. The studio preamps are another story. But honestly, I've never found the need to use those with other amp models.... with Variax acoustic models, where I have no other amp model in the chain, yes. But that's all I've ever used them for.

You can if the IR is in the Helix patch (or some other modeler) , with the Powercab in flat mode, also with an IR loaded. You probably wouldn't want to, as daisy chaining 2 IR's together is redundant, and would likely sound like boiled a$$... but I don't see any reason why it wouldn't possible to set things up that way. It's just ill-advised...

If you're using a power amp and cabinet, or slaving a head for power, there's no technical "need" to use an amp model that incorporates a modeled power section, as you've got a real one... though you certainly can if you choose. Whether or not you prefer the full amp vs. pre-amp only models, is just a matter of personal preference. As for daisy chaining 2 amp models together, whether they're pre-amp or full amp models... that's never gonna work.

Acoustic models work just fine for me on my 69... try it out first. Only one way to tell.

I don't think any of us would be here if our listening experience even vaguely resembled "listening from inside a box". My experience is anything but...Helix is by far the most versatile piece of gear I've ever owned, providing a degree of consistency that I've never had in 25-odd years of various amps, rack units, and cabinets. It sounds like an amp, and it feels like an amp...BUT, an amp that I'm hearing through the monitors in the control room whilst it roars away in the room next door....that's the difference. Does it sound like I'm standing 6 feet from my beloved Marshall 25th Anniv. Jubilee 4x12 that I dragged everywhere for 2 decades? No. And it won't. But that doesn't make it any better or worse... just different. They both have their merits. If it's the "amp in the room" aesthetic that your after, you're not gonna get that from a modeler, because it's not what they're designed to do (unless of course the new cabinets L6 recently announced actually do what they claim... jury is still out on that one). They exist to provide album-ready guitar tones for either direct recording and/or to bring those same tones to a live environment...without the eardrum rupturing volume needed to get the most from a tube amp, or the maintenance they require, and in a package that I can carry into the gig with one hand. Some make the transition and come to appreciate the difference for what it is and versatility it affords, and others go back to their amps. Both are OK...

Every generation has to have their "Yoko", I suppose...;)

Well there's a bunch, but I'd hafta say the string volume controls on a per-model basis in HD. In the old one, the string volume controls were global, which doesn't work very well in the wild. The models differ quite a bit with respect to relative perceived string volume... couple that with the variable output of piezos, and things easily get out of whack....something is gonna need tweaking, and settings that balance one model, very likely won't work for the next.

That's because none were sold...;)

Yup. The rabbit hole is deep and wide... If you don't keep your distance from the event horizon, there's a good chance you'll have forgotten how to play by the time you dial in a sound you like... lol

As always, one man's meat is another man's poison. I watched for a bit, mostly because I was convinced he was eventually gonna trip over the pedal board and fall on his a$$ with all that tap dancing... then the "vocals" kicked in, and I nearly ruptured my spleen. Next...

Intermittent problems don't get solved until they become constant problems. If I were you, I'd just run with it as long as it's working. If and when it craps the bed again, you can try to diagnose it further... but till then you'd just be beating your head against the wall. I'd also give it a real test drive, and see if it functions normally for any length of time, with real use. Switch models, tunings, etc... Plugging it in periodically and fiddling with it for a few seconds at a time really isn't telling you much. Play it for a couple of hours and see what it does. These guitars are notoriously weird...

This is like asking "what's a good beer?". There are 10,000 answers, and none of them are "right" or "wrong". There is exactly one way to find out if you'll like one cabinet over another.... try 'em both and let your ears decide.

For what? This is unanswerable. There are a thousand ways to do this. Output is adjustable at virtually every block in the signal chain, and everybody has their favorite method. If you're not familiar with modelers at all, then the manual is the place to start for "square one" type stuff. The master volume knob is hard to miss.

It was never a polyphonic pitch shifter, on any firmware version. It's surprising you were ever able to make it work reliably.

Once a patch is saved with a particular tempo, it should stay that way. If not, something's wrong... open a support ticket.

As you can see from this years- long thread, this ain't exactly a new problem. No universal fix exists...L6 has admitted that themselves. This thread touts various remedies...everything from using a heavier gauge string (up to a .52 for the low E), to dampening sympathetic vibrations in various locations (behind the nut and/or bridge saddles), to dancing over a pile of chicken bones and goat's blood whist chanting supplications to the gods. You can try any or all of these and see if it helps, but the bottom line is some guitars do it, and some don't. Some of it has to do with the player and the tone(s)... high gain and lots of palm muting tends to make it worse.... which explains why more of the metal guys seem to have trouble. If it's a new guitar, I'd just send it back for another one...ymmv.

You're unlikely to find anything used for less than those JBL's anyway... even if you get the old ones, $100/pair for monitors is about as cheap as its gonna get, unless you buy absolute crap.

Just guess randomly...there is exactly one way to tell if you're gonna like any one particular IR: listen to it. You will not find any magical way to determine if you should bother auditioning one vs. another, just based on whatever name the file has been given. Try a handful at a time. Keep what you like and dump the rest.

Those JBL's are ideal for your circumstances...been using them in my home "studio" (I use that term loosely...I don't have much room either) for years. The next generation of 305's were just released recently, and aren't much more expensive than the old ones... $150/each, I believe. Might wanna look at those, too.

I was gonna make fun of this... but I don't think it needs any help. ;)

I agree... If a tuner jumps in a forest, and there are no OCD guitar players around to see it, is it still granular? ;)

Yes, but he also said that he's "not getting the spread" that he wants, which would seem to indicate that he's leaning towards panning everything further out than the aforementioned 24%. Imho, that's unwise. There's really only one way to get a true stereo spread, and that's panning everything hard left and right... which imho, is unwise in live situations for all the reasons I mentioned. The farther out he pushes everything, the weirder (and more difficult to control) things will get.

You might as well stop looking for objective truth here, because there isn't any. Before volume/expression pedals existed, if you wanted to incorporate volume swells into your playing, you were stuck doing it with the volume knob on the guitar... the equivalent of placing the volume block before the amp model. It's a perfectly acceptable way to do things... as is placing it after the amp and before any effects. It merely depends on one's personal preference, and what you're actually trying to accomplish. Some guys just want to use it as a boost, or as a quick-access master volume control on stage. In those cases, you'd want the volume block dead last in the signal chain. It's all fine if produces the end result that you want/need. The notion that there's a "right" and "wrong" way to do it, is ridiculous. As for their choice of default volume block placement in the factory patches.... they have to stick it somewhere, and like most things, no matter where they put it, somebody's gonna get a wild hair.