cruisinon2

Remembering the wrong things is an acquired condition....comes with the marriage license. ;)

If you really want to learn to look at the fretboard in a different way, check out a guy named George Van Epps. He had Epiphone build him a 7-string back in 1938 (or thereabouts)...seriously complex chord melody pieces. Guy was a monster player and composer. This is the best way to get better. Nothing is quite as motivating as having your head handed to you by a better player, lol. ;)

They're all nicely made, no matter what you size you choose...I find the thickness is what matters most anyway, rather than the size or shape. Personally, I favor the ones in the 1.5 - 2.0mm range. He lists the thickness of each one, so you can get a couple and experiment. I have 8 or 9 of them now...It's a one-man operation, near as I can tell. Once you buy something, he'll start sending you discount codes, whenever he gets a new batch ready to go. One order he threw in a bonus pick...nice guy. Periodically he gets his hands on some exotic materials...petrified wood, dinosaur bone, and the odd meteorite, lol. Cool stuff...pretty to look at even if you didn't use the thing.

One shouldn't admit that in a room full of guitar players....;)

His "jazz size" ones are close to the Jazz III dimensions, but available in a variety of thicknesses. Stock rotates...last time I looked he had a bunch of "jazz stubby" ones available. Those are a little smaller, and not my cup of tea. See what you like...he makes the standard teardrop size too. Obviously they're a bit pricey compared to a plastic pick, but they really don't wear hardly at at, unless you really beat the daylights out of the strings. They'll last years.

^^THIS^^ I stumbled on this guy's youtube channel a couple of years ago. Helped me clean up 25 years of miserable right hand technique. I had grown accustomed to relying on legato playing with lots of gain because my picking was frankly, awful....well maybe not "awful", but it was certainly a weak spot. I was also surprised at how much the picks I was using for a million years (Jazz III's) were contributing to my sh*tty picking on fast runs. I now use a handful of polished stone picks from a few different sources, but these are my favorite: https://stoneworkspicks.com/ The beveled edges are so much smoother than whatever plastic(s) most picks are made from, they glide across the strings rather effortlessly...and they last damn near forever. I still have the first one I bought, almost 2 years ago. Hardly has a mark on it.

Lol...

Open a service ticket and cross your fingers....

The odds of any significant changes to the POD HD series at this point is basically zero...clearly their efforts are focused on Helix.

It's simple to end this, gents. Just derail the thread with a completely unrelated topic, just like last time. We just need something else to discuss. I vote for a round table discussion on everyone's favorite ethnic foods...I'll start: Having been raised largely by my Scottish grandparents, I have a fondness for traditional Scotch pies, bridies, and a pastry with raisins and currants that grandad used to refer to as a "fly cemetery"...no idea what the proper name is. ;) Who's next?

Show me a musician who's consistently pleased with his/her own performance, and I'll show you an insufferable a$$hole.

JBL LSR305 monitors.

In practice, who does that? If you actually want to hear the stereo spread, the speakers should be the same distance from each other as they are from your head, so that the three of you form an equilateral triangle...or as close as is practical, given the layout of the room.

I will remain forever baffled by "stereo" amps that are self contained single units, with multiple speakers all housed in the same box. No physical separation = no stereo. It's that simple...don't care how fancy the guts are, or how many somersaults it's doing with your signal. If you want stereo, then you need two speakers. One over here, and the other over there...with a WHOLE LOT of daylight in the middle.

I've been using modelers of one sort or another for nearly 20 years. Never had one that provided instant gratification. The more complicated they get, the more tweaking they require. If I were to have determined the worth of each unit by the way they sounded right out of the box, I would have returned them all. You really can't compare any of these things to a "real" amp. Yes, anyone should be able to figure out their AC30 inside of 2 minutes...because there's only so much you can do with 6 knobs.

We've all seen dumb threads before, but this one deserves an award. Now if everyone will excuse me, there's this suspicious car with tinted windows that keeps circling my block...I think the forum mods have me under surveillance.😨

We all went through it. There's definitely a learning curve with these things. Eventually you'll get the hang of creating tones you're looking for, and you'll be able to build patches from scratch in very little time. The experimental phase kinda sucks initially...lots of trial and error. Heavy on the "error". ;) You'll get there...

Lmao...good show in here today. Unearthed "ancient" communications, tension, drama, Nazis. I don't know if they're doing any more Indiana Jones movies, but we got the makings a script right here. Just hafta turn Harrison Ford into a guitar player in some 40's Big Band act...;)

Cracks me up that this late in the game there are still issues with that knob. It's a stupid, easily fixable problem that simply never been addressed. Unreal.

Or try playing with the SAG parameter...that can "tighten" things up a bit.

If you put your head an inch from the speaker cone of a guitar cabinet, you will hear harsh, unpleasant frequencies that you would not otherwise hear sitting or standing 4,6, or 10 feet away, and off-axis by a considerable amount. Those frequencies are what a mic hears, and thus what the modeled tone ends up sounding like through an FRFR speaker. There's not much that can be done about it, except a high cut filter. Any modeler will suffer from the same problem.

Never.

What's it for? Mostly wishful thinking, and demands for one of two things: 1) Logistical impossibilities, or 2) Nutty pipe dream features that would only be used by the guy who's asking for it. ;) But seriously... As for the last firmware update...what do I think? I think it's a platform that's years old, in a world where the "latest and greatest" tech changes every 6 months. Expecting firmware updates and support for ANY product to be maintained until the end of time falls squarely into the "pipe dream" category. If you want gear that you can will to your kids, buy a tube amp....because as much as I like this stuff, it's not 1942 and these things ain't Sherman tanks.

Global EQ is really for fine tuning to the acoustics of the room you're playing in...different venues, listening environments, etc. You don't want to create patches with global EQ on...it's a handicap. It's for after-the-fact, small adjustments when you move your rig somewhere else. As such, somebody else's settings aren't gonna do you much good, because they're not static. I use mine, but it changes with the room. Anything anybody gives you is more likely to make your tone worse, rather than improve it.

I've been at this a long time, both live and in the studio. Never once has it been critical, or even of passing interest for me to say, "I've been playing at 92 decibels today". We're in "Goldilocks" territory here...it's either too loud, not loud enough, or just where it needs to be. Hanging a number on it is meaningless. The decibel scale is logarithmic, which makes a difference of 12 dB ENORMOUS. May as well be talking about "on" or "off". If you were deaf, you'd still know there was a problem...you wouldn't need a meter to spell it out for you. Nobody wants huge volume differences between patches...that's a given. It would render them unusable for all practical applications, especially live. But, there's no mystery to leveling things out. Yet there is frequently this attempt to turn the process into a PhD dissertation, and for the life of me I will never understand why. If one is quieter than another, turn it up, or the other down...either way, problem solved. And you don't need some gadget to tell you when you've accomplished that. Just my 2 cents...