cruisinon2

Lately? Don't be ridiculous...they don't act at all these days. ;)

We have Constitutional amendments that required less discussion...

Yes...but which direction to turn it to produce a desired effect was never the question. "Counterclockwise to add relief" describes every truss rod on earth, whether it's dual action or not. However, there are those that can exert force in both directions and those that can't. There is a fundamental difference in design that's completely independent of which direction to turn it to make the necessary adjustment. Righty tighty, lefty loosey... that never changes. Single action rods only provide relief by RELEASING tension, and only to a certain point...once all the tension has been released, you're SOL if the neck still doesn't have sufficient relief. Dual action rods can force additional relief by pushing the neck forward, in the same direction as string pull. He's asking which type is in there...

The fact that the toggle switch works for the models, pretty much rules it out as the cause, and suggests an issue further up the line. It won't hurt to try some contact cleaner, but I doubt it'll help.

Lol...I hadn't thought of that. I suppose that would work, and it would avoid using both the VDI and 1/4" outs at the same time. Good idea.

Fancy electronics aside, Variax is still a guitar. Plug it into whatever you want.

The powers that be have repeatedly warned against using both the VDI and 1/4" connections at the same time. Damage can supposedly occur. But even if that weren't the case, you wouldn't be able to do what you want anyway. You can blend the mags with a model in whatever ratio suits you, then save it to the guitar as a "custom model", but no matter what connection you're using, there's still just one output signal at a time...there's no way to route the piezos to one output and the mags to another simultaneously.

OK, apparently I'm getting old...what the hell is "doomgaze metal"?

Bueller? Bueller?

Lol...

I can see the line forming already...

But I'm going to anyway...😜 Donate at www.granularityinternational.org 😂

Lol... what a joke. But fair enough, I'll rephrase. I've never seen anyone but a useless gov't bureaucrat would wander through a crowd of drunks with a dB meter.😂 Imho, this ill-conceived regulation almost certainly had nothing to do with the professional hand-wringers at OSHA losing sleep over the fate of anybody's eardrums...otherwise it would have been happening everywhere, as OSHA is a Federal agency. Why only pick on Miami when they could be raking in revenue everywhere? (Oops! I meant enforcing important workplace safety regulations ;) ). Or perhaps it's just Floridian eardrums that are especially sensitive and in need of gov't protection? But I digress...I'll bet money that some well-connected neighbor of one of those clubs didn't like the noise and pulled a few strings to initiate said "crackdown". Your tax dollars at work, keeping society safe from cover bands. Heroes, one and all those regulatory drones...

Should I run around to everyone on the beach and make sure they're wearing sunblock, too? In nearly 25+ years of live performing, never once have I seen anyone wandering through the crowd with a dB meter because they were worried about the potential for hearing loss amongst the audience. Even a modest sized crowd of Friday night drunks will be nice and loud all by themselves... likely loud enough to cause damage with sufficient exposure. I've been in plenty of rooms where you have to shout to the person next to you when the band ISN'T playing. If you wish to be heard above that baseline drunken din, you're gonna have to turn it up a bit. Fitted, flat response musicians' earplugs are a must for anyone who performs regularly (or frequent concert-goers) if you don't want to go deaf, but taking on the responsibility of safeguarding the hearing of everybody in the crowd is ridiculous...not to mention futile, unless you're drummer plays with nothing but brushes and you "Shhh!!!" the crowd between tunes.

Get blind drunk while listening to "Frampton Comes Alive" on endless repeat until you can't tell the difference between a guitar and a tuba...everything you hear after that will sound like a talk box...;)

I don't get it either. Leveling volumes is not hard. It doesn't require a PhD in theoretical physics. All one needs are ears, a volume knob, and the understanding that some minor adjustments will need to be made periodically. Big rooms, small rooms, live rooms, dead rooms, maybe the drummer isn't hitting as hard tonight so you're not turned up as much as usual...the list goes on. Too loud? Turn it down. Can't hear yourself at all, or your lead patch isn't cutting through enough tonight? Turn it up. Who cares if a dB meter thinks everything is just right? It's not analyzing the sound subjectively, but your brain is. Use it. The meter is just cranking out a number that can, and will be perceived differently depending on the circumstances...and perception is the only thing that matters.

I suggest a power strip, unless you want to be pulling the wall wart out all the time, or worse disconnecting it from the unit itself. Over time its gonna loosen the solder joints on that jack and one day you may find it won't power on at all. Why no power switch? I suspect because it would have cost another twelve cents per unit...

Dual action truss rods can push or pull...they can force more relief into the neck if necessary (in the case of a back-bow), whereas the single action rods can only exert force in one direction, tightening from a neutral position and pulling the neck back (opposite the direction of string pull). Once they're loosened to that neutral position, they can no longer provide any more relief for a neck that is either pin-straight, or has a back-bow. Dual action rods can push the neck forward, creating relief. It's a better design...particularly for a set-neck guitar. If a neck develops a back bow and it has a single action rod that is as loose as it gets, then that is huge problem that requires major surgery to correct, usually at a considerable cost. For all but the most valuable/cherished instruments, this usually results in a one way trip to the toothpick factory. The dual action rods pretty much eliminate this scenario, unless the damage is very extensive. The second adjustment screw on your Warmoth is just a feature of that particular design, provided so that you don't have to remove the neck to make adjustments, as the main adjustment screw is at the heel and nothing at the headstock...but it's not required, per se. There are plenty of guitars out there with dual action rods that have just the one adjustment screw. I never understood necks that only adjusted at the heel. I had an older Warmoth like that once, on a Strat i had bought second hand...but who the hell wants to un-bolt the neck every time you need to give the truss rod a 1/4 turn? Predictably, over a number of years of repeatedly removing the neck bolts, one of the holes got stripped and had to be doweled and re-drilled. It's a stupid design.

If you take the amp and cabinet out of the equation and try to run the same patch through a PA, or any other FRFR speaker(s), yes..."terrible" is very likely to be the result. You will want to change the output mode as well as switching to the full amp models, but that's not a cure-all...it's just a starting point. You're transitioning between 2 very different worlds, and you'll find that you're patches will need to be EQ-ed VERY differently for an FRFR rig. So much so that you may find trying to adapt your existing patches to FRFR use may be more of a hassle than starting from scratch. The cab and mic models will become a HUGE component of your tone. It will be annoying, frustrating, and usually more than a little daunting at first. But once you get used to it, you'll wonder why you ever dragged 120 lbs of crap to a gig.

What everybody else already said. If you need the putter but you try and make do with a 3 wood instead, don't be surprised when you're disappointed with the results...

Hallelujah!!!

I think this part bears repeating, especially for those fond of deferring to various metering toys for leveling volumes...

The ONLY reason to bother with the 4CM is if you want the option of getting your basic tone from whatever amp you're plugging into, while still being able to use the POD's effects. However, if you're only using the amp models (with or without cab sims), then the 4CM is pointless. Just go straight from the POD into the FX return on the amp, and call it a day.

No...just the opposite. Helix has no idea what your final volume is, no matter where it's master volume is set. You can have the master volume red-lined and still be listening at a nice comfy volume through your chosen method of amplification, or you could be rattling windows in the next zip code. Either way, Helix neither knows nor cares. And no device will ever sound the same at bedroom vs. live performance volumes. But that's because of how your brain works, not the device. Nor will any set of headphones give you the exact same tone as what you'll hear through another amplification method. Every time you change what you're listening through, and/or the volume at which you're listening, the tone will change...sometimes drastically. It all depends on the scenario and the listening environment.

I'm never surprised when electronics that sit unused for long periods cease to function...get the L6 Monkey software on your computer, update to the latest firmware, and see if that gets things up and running. But you should understand going in that even if that gets it working, the POD is really not a plug-and-play unit. It takes most folks considerable time to get comfortable with it, but when you do it's worth it. There are great tones in there, but they're not gonna jump up and bite you on the a$$...