cruisinon2

OK...but it's baffling why this is the case. Standard concert pitch is exactly that...standard. Why someone would design software that requires a peculiar "in between" tuning is beyond me, and as far as I'm concerned, is seriously detrimental for a beginner. And aside from being inconvenient in the extreme, it's not good for the strings, or the guitar itself. The strings will wear out faster. Also, keeping a guitar in playing order is tricky enough, with regard to action height and neck relief. It depends on keeping a number of variables relatively constant, which is basically impossible of the string tension is constantly changing. I've been teaching lessons for many years...if a student came to me with a tool like this, I would discourage it's use. It's a hindrance in more ways than one.

Others might disagree, but here's my 2 cents: Technology is great, but the first fundamental step to becoming a musician is learning to tune your instrument. The best guitars in the world (or any other stringed instrument, for that matter) will need slight tuning adjustments every time you pick them up. Strings stretch and wood moves. End of story. If you bypass learning how to do it yourself with fancy gadgets, you're not going to get very far. You need to learn to use your ears...developing a sense of relative pitch is not optional if you ever want to play with other musicians, or develop the ability to learn tunes by ear. Assuming that the guitar is not junk, and that the strings aren't 8 months old, tuning up takes less than a minute. Tools like that are convenient on stage, enabling quick adjustments between songs, but they're not meant to be a substitute for learning basic skills.

Because that would mean admitting that a lot of customers found the neck uncomfortable and/or poorly constructed...not exactly the kind of thing that you'd want for ad copy. Not to mention the fact that they're constantly reminding everyone how much they do not support the modification of their products. If they didn't care, and the guitar was intended to be an "erector set" design, they wouldn't bother telling you not to do it.

"Conspiracy" implies dark forces with a sinister agenda. This hardly qualifies...not even on the slowest of news days. Nonetheless, we are repeatedly reminded that L6 does not support the modification of their products, and consistently warned of all the dangers in so doing...but OK, I'll play along. So the 69's heel and pocket dimensions "just happened" to be identical to a 60 yr old design...but nobody measures these things. Bunch of people turn out to have issues with said neck, and replace them. Next version incompatible with readily available replacements.

Why put the engine from a '72 Pinto in your new Ferrari?

That's gonna be a mess, then... Imho, I think the powers that be were not too happy with so many people swapping necks on the JTVs. Doesn't surprise me that the Standard is not Strat-replacement friendly.

You mean the issue critical to the instrument's basic function that shouldn't ever have gone unnoticed in the first place?

You can assign more than one effect to the same footswitch. So unless you're a strictly "one effect, and only one at a time" guy, then you should be able to do what you need in ABCD mode as well, and with less tap dancing. If you have even one effect that's always on, or a pair that are always used together, then your problem is solved.

It's just a guess, but are you leaving the headphones plugged in? On some amps, that disables other outputs.

I've changed my mind, you win. Warmoth sucks. I'm putting the stock neck back on, with its hilarious nut width and toothpick diameter string spacing.

Preference is a funny thing, and you like what you like...but the entire neck isn't a throw-away just because you didn't like the size of the frets. You'd be replacing them eventually anyway. And for those who are considering one, Warmoth offers 4 or 5 different sizes of fretwire, for which the precise dimensions are all supplied. Getting what you want isn't hard... As for the radius being unsuitable for anything but "junk" with heaps of distortion...frankly, it's absurd. I can manage heavy "junk", greasy blues, or country equally well.

Wow...

I'd rather have another Variax at that price...or be 2/3 of way to a Helix. If I were playing football stadiums, and actually moving across a large stage, sure, I could probably afford it ;). Otherwise, no thanks. For the stages I'm on most of the time, being tethered is not really a hindrance...no real need for wireless at all, VDI or not. If I could lead a battery-free existence, I would...just something else to keep track of and replace.

Well, the defaults for the low cut and high cut are 20Hz and 20KHz, respectively. These are the outer limits of our perception, and well outside of an electric guitar's frequency range anyway...so unless you move those limits in, these filters aren't doing anything of consequence, which makes it as close to "neutral" as any EQ shelf filter can get. They had to start somewhere. As far as the other center frequencies that's they've chosen as defaults, the gains are all at zero...not boosting or cutting anything, which is "neutral".

This has been, and probably will continue to be debated until the end of time. Some players can make the transition to FRFR, other's go back to their amps. Nobody's "right". Trying an FRFR rig...and I mean really experimenting with it...is the only way to know if it's for you.

If the time it takes to read a post is best measured with a calendar, I'm skipping it...;)

I'll wait for the movie....

Amen

No...they're completely different tasks. A set of headphones that's optimized for casual music listening is not likely to have anything close to a flat response. There's often an absurd overabundance of low-end. A flat frequency response is what you need to faithfully reproduce what you're hearing through an FRFR speaker...and even then, there will still likely be some subtle tweaking needed. And you can forget comparing a patch that's designed for an actual guitar amp to any set of headphones on the planet... it won't even be close to the same tone. Hell, it might not even sound like the same instrument. Apples and oranges isn't even a good enough analogy...its apples and cheeseburgers. Every time you change the final output device, your tone is gonna be different to some degree. There's no way around that, other than creating patches for a specific use.

Imho, "authorized service centers" are all suspect. Has nothing to do with L6, per se...getting a f#$!$@-up dishwasher fixed properly is just as much of a crap-shoot. Just because L6 sprinkles a place with holy water, or whatever it is they do to anoint them "authorized", doesn't mean that they know what day of the week it is. I've got one less than 10 minutes from me, and I'll ship gear to the bottom of the Marianas Trench for repairs before I go back there.

I think that's the first time that those words have all appeared in the same sentence...;)

Sweetwater is a better way to go, imho. Excellent customer service, 30 days to decide if you like it, and they tack on an extra year to the factory warranty.

That's because the two aren't really designed to work together. Daisy chaining two modelers together is redundant. Amplifi is really intended to be a stand alone unit. Afaik, it has no FX loop, so your only real option is coming straight out of the POD into the Amplifi...any tone that you dial in on POD will be altered significantly by the amp models in the Amplifi. It will probably be a royal pain in the arse to dial in any usable tones this way.

Lol...now there's a thought. A death metal version of "Running Down a Dream", complete with Cookie Monster vocals. That alone is worth the $10 cover charge...;)

Well that's settled, lol. ;)