cruisinon2

Here's the rub...there is no "best" amp and cab to use. It's a frequently asked question, but one that's impossible to answer. Guys use the POD with gear from all over the map, with good results. There is no escaping the experimental phase, however. You just have to keep banging away at it until you hit on a combo of amp/mic/cab/output mode that suits you. It was frustrating for the overwhelming majority of us, initially. This is not a "plug & play" device. Doesn't mean the tones aren't in there...but you do have to find them yourself. There are WAAAAAAAAAAY more user-adjustable parameters on a modeler than on any "real" amp in existence. Takes some getting used to...

No, you're not imagining it...that's precisely what I had said earlier. The nut is as narrow as it gets. You'd have a hard time trying to find one narrower.

Hurumph! ;)

So rather than try (gasp) something other than the Treadplate model, you set about performing all sorts of minor surgery on all your guitars? There are dozens of amp models in that thing...try another one.

It would probably help some if those stores weren't staffed by idiot high school kids who haven't been alive long enough to know anything, and aging half-wits who don't care because they still think of it as a temporary gig until their band makes it. Never mind that they suck and they're 52. So much for the glorious world of music retail. Even if none of that were the case, people would still be buying big ticket items online for the convenience of having it show up on your porch 2 days later...and to avoid sales tax. No worries though. That'll end when the Feds finally go into full-blown Europe mode, and dump a VAT tax on us.

First of all, a buzz at one fret and nowhere else, is very likely being caused by a high fret. Too little relief, or low action will cause buzzing everywhere. So in this case, you could adjust the truss rod and action all day long, and it probably won't help much. Unless you add so much relief and action so high that the whole instrument becomes unplayable. Secondly...no, and a rather emphatic "NO"...there is no "preferable" way to deal with a buzzing fret. It depends entirely on the cause, and the overall condition of the instrument, not merely what the problem du jour happens to be. There is no "for symptom X, apply fix Y" rulebook. You do what works. Two guitars with the same symptoms won't necessarily require the same fix. A guitar with a buzz and already high action won't benefit much from raising the action even further...you can't just keep pulling the strings further and further away, forever. Same goes for neck relief. It's a balancing act. One affects the other.

Unless you're spinning the truss rod like a roulette wheel, nothing you do is irreversible. The adjustments take a little while to settle in anyway. Wood moves slowly. Adjust it, put the microscope away, and just play the damn thing for a day or two. Then see where the neck is. If there's so much relief that you could limbo under the strings, tighten it. If you can't see any daylight between the tops of the frets and your ruler, loosen it. It ain't rocket science. And again...specs won't necessarily help you. Two guitarists walk into a bar: One beats the daylights out of his strings, the other picks with a feather duster. Any one set of specs is not likely to suit them both. Of all the stuff you listed, the only things you actually need are a dead-straight shop ruler, long enough to span from the 1st fret to wherever the neck meets the body, a set of Allen wrenches, a GOOD tuner, and to not be an idiot...a radius gauge, in the absence of individually height-adjustable bridge saddles, is useless. If all you can do is raise and lower the bridge as a whole, and the saddle heights relative to each other are fixed, then there's nothing to check. Nut and fret files are nice, but if you don't know what your doing then it's best not to try. Those you can damage irreparably, but basic set-up adjustments can be done by just about anybody with an IQ above room temperature.

For the love of all that is decent and holy, just make it playable. We're not calibrating fusion reactors. You don't need a slide-rule, micrometer, or gas chromatograph. With the exception of intonation...which is the ONLY thing that is either "right" or "wrong"...everything else is subjective. Guitars...ALL OF THEM...need to be set up for the way YOU play. Magic numbers and a feeler gauge will not make an instrument "better". If it's comfortable, not buzzing, and properly intonated, then it's fine. "Specs" are not Gospel, and not universally suited to anyone who happens to pick the thing up. Besides, you're just gonna keep hearing the same tired refrain that Gibson specs on a JTV will give you the clap...

Yes...but in the modeling realm, traditional "rules" about what goes where don't necessarily apply. Just because something doesn't seem to make sense, won't necessarily mean that it doesn't sound good. Try it all...

Nothing is completely "tone neutral". The spec sheet for that amp makes no claims about being FRFR, which is as close to neutral as anything is ever going to get...but even then, some subtle differences can be expected from one unit to another. A different speaker, is a different speaker. Doesn't mean that you won't be able to get good tones from it, but there's really only one way to find out. Could be awesome, or it could sound like baked a$$. It seems to be designed to wear a lot of different hats...whether or not it does this well, is anybody's guess. It doesn't seem to have discrete speaker "modes" (PA reference, acoustic, electric guitar, keyboard, etc) the way the Stagesource stuff does, so my guess is that they intend for you to use the global EQ to tailor it's response based on what you're plugging into it.

Your ears are gonna answer that for you...not all headphones are created equal. If you're listening through a pair of "Beats", it's likely adding so much low-end that anything else you plug into will sound tinny and brittle by comparison.

We have a winner! Lmao...;)

It's a Mesa/Boogie preamp...got nothing to do with the POD.

Who wants a custody battle over a power amp when the band goes toes-up? You bring your stuff, I'll bring mine....and don't bogart my strings, either. ;)

Lol

The neck profile, I can forgive. Some guys like a chunky neck, others want shredder thin. It's the nut width that baffles me. Nobody has made anything that narrow in decades...and imho this probably contributed to the E strings slipping off the ends of the frets on some of the early models. I think they were installing nuts that were slotted for a more standard spacing, resulting in both E strings sitting too close to the edge of the fretboard. The string spacing is really close. Made open chords damn near impossible without muting one or more open strings...and I don't have stubby little fingers, either. Only other guitar I've ever played that was that narrow was an ancient Rickenbacker my dad had when he was a kid...I could never play that thing either. You'll either love it or hate it...not much middle ground.

I found it! Which is borderline miraculous, as I did it about a year and a half ago. Generally I couldn't tell you what I had for lunch yesterday, but I digress...click the link in the first post of this thread: http://line6.com/support/topic/10186-version-19-sound-alike-strat-bundle-for-version-2x/?fromsearch=1 Regarding string volumes, I found them to be all over the place, depending on the model. Low E and A strings I have dialed back considerably on the Strat model (50-60%). Piezo outputs vary too, so that's part of it, but some models need more tweaking than others.

The same way that running into two very different speaker cabinets will give you two different tones, patches that you've created with the DT are never going to sound the same through any FRFR speaker...only the difference here will be orders of magnitude more noticeable. They are vastly different animals, with very different frequency responses. It will be even worse if you're using pre-amp only models into the DT, and trying to use the same patches into the L2T. Practically speaking, it's one or the other, with patches tailored accordingly. Mic/cab choices make a huge difference. Experimentation is the only way to get there...trial and error. Heavy on the "error"...

Stupid thread, back from the dead...

Lol...;) Perhaps not the oddest, but it's up there. Seriously though, where would you put the thing? Stage left, stage right? If I lose the coin toss that night and it's on the other guy's side of the stage, now I gotta get his attention to turn up or down? No thanks...

That too...I've played in bands with another guitarist, and/or a singer who played rhythm for a million years. Never once occurred to me to share a power amp. It's just odd...

I think they tried to reinvent the wheel with the HD 2.X models, and it wasn't necessary. The Strat model in particular, suffered. It's great is you want that tinny, "strings sitting on the frets" SRV-ish clang...but not much else. I had to start using a custom model that someone had posted that much more closely emulates the old Strat model in 1.9. New one was just unusable for me.

Why not just assign the two FX to the same footswitch? No need for yoga poses...;)

Any 16 ohm, 2 channel power amp in the known universe...however, with only one amp between you, when it dies (and it will), nobody gets to make any noise. Not a good plan.

Plus he's got $300 left over from the usual cost to shop with over at Warmoth...;)