cruisinon2

Lol..."guitar face" without the ability to play a single note. Excellent...

Lol...very true. I don't get the dilemma, honestly. Why go FRFR if you're just gonna turn around and undo what it's designed for, and make it sound like the rig you just ditched? Want the "amp in a room" sound? Amps and rooms are readily available. Pick one of each, and season to taste. Who buys a Ferrari so they can dump the engine from a Plymouth Reliant in it?

You will likely waste weeks of time with this approach. If you're gonna be painstakingly entering one parameter after another, you may as well start from scratch and create your own tones...otherwise, it's a whole lot of grunt work for patches you might end up hating. In my experience, patches created by someone else, with different gear, rarely translate well. I've tried dozens from Customtone...all but one completely useless to me. If I had to enter them all manually, I would have gone mad....

You need HD Edit on a computer with internet access if you want to be able to import patches, regardless of their source. If you have no computer at the moment, then there's not much you can do.

Next version is just gonna shut everything off if you suck...it's tentatively called AMP, "auditory mercy protocol". ;)

Agreed. A one modeler-specific FRFR cab wouldn't make sense. You're limiting your customer base right out of the gate. Besides, a "true FRFR" box shouldn't care what you're plugging into it anyway. I would pay for a powered, 4x12 sized FRFR cabinet, provided that it was reasonably priced, and I bet others would too. Let's face it, aesthetics are part of the equation. As much as I'm enjoying my L2T, it doesn't look like a guitar amp. I've made my peace with it, but I'll bet that is half of what turns off all the "purists" out there. Appearance is important, no matter how much we might like to pretend that "it's all about the tone". Build something that looks like what they grew up watching their heros play through onstage, and people will buy it...if it looks close enough, they'll forget that there aren't a bunch of tubes in it.

I try ;). You know, it's not even the fact that the problem exists that bugs me. Hell, mine works. It's that a little more credibility is lost every time they repeat "it's string buzz", "mag pickups are too close to the strings"...or my personal favorite, "just EQ it out". As if that were even possible without destroying the sound of the other 5 strings in the process. Don't pi$$ on my leg and tell me it's raining...

You think the pet rock was a good idea? ;)

Yes, I'm well aware that marketing folks are full of $hit, and products are deliberately passed off as something they're not every day. Anyone older than 5 with money to spend, knows that...generally learning it the hard way. Nor am I asking for a watered-down product just so I can spend less money. That's not the point. The question is very simple...does an honest-to-God FRFR speaker NEED to command the exhorbitant price that it currently does? New tech is never sold for what it's actually worth. If it were, the concept of the "sale" wouldn't exist. Money is made from the early adopters...those who wait a while get a deal. I missed the $100 price drop on the L2T's by about 11 minutes. POOF! By Royal decree, same item is now worth less! A (post) Christmas miracle! Oh well...my fault for shopping before the holidays! ;)

I think what he really meant was why is all the FRFR stuff so expensive, and does it have to be? I'm guessing the answer is "no"...but like all technology, until everybody wants one, it will stay expensive, and out of reach for some. Why? Because it's "new", "improved", and "cutting edge", or whatever marketing term you wish to apply. Then...miraculously...somebody "figures out" how to bring the same friggin' thing to Joe Average for half the $$. Clear out all the suckers and recoup the R&D costs, then sell it for what it's actually actually worth. If the world's supply of tube amps suddenly dried up tomorrow, quality modelers and true FRFR speakers to blast them through would cost less than a trip to the grocery store.

The JTV69 has neck pocket dimensions identical to a Strat, lots of us have replaced them. But I don't think a Strat neck will fit the Standards...I seem to recall it being discussed here when the Standards were first released. Easy enough to test though, if you have a Strat neck handy. It's just 4 bolts, and it will either fit, or it won't. All you need is a screwdriver. If it's a no go, pop the stock one back on. No irreparable harm will be done unless you actually try to screw it up.

I wouldn't expect much of a response. The powers that be are not big on discussing anything even vaguely technical. They still refuse to divulge specs as innocuous as the recommended height for the mag pickups on the Variax guitars.

Too much EQ manipulation isn't gonna help your cause either. I don't find the need to use the different EQs very often. Most of my patches don't use any at all. I do use the global EQ to roll of some of the fizzy high-end, and the low-cut filter in the cab parameters is in use on almost every patch I have, but that's about it. You can change your tone a great deal by experimenting with different cab and mic combinations...I find those, plus each model's native tone controls is usually sufficient to dial everything in.

You're right, it works just fine in studio/direct mode. The whole point of having an FRFR rig is to run in studio/direct mode to take advantage of the full amp models...to say nothing of acoustic tones if you're a Variax player. There would be no point in investing in an FRFR speaker(s) if you're just going to try and turn the thing back into a regular guitar cabinet with another heavily EQed output mode. It's bad enough you can't use global EQ with L6 Link, but at least that has a reason....eliminating it's use from studio/direct mode would have been absurd.

There's one solution folks. It sucks, but it is foolproof: find a guitar that works. They're not all afflicted. We will probably never know what the cause is...most likely because the cause(s) is either expensive to remedy, embarrassing, or some combination of the two. Meanwhile, to everyone who "plinks": just keep raising your action in 6.4 micron increments until you can drive a truck under the strings.

Yup, fun huh? We've all been saying that forever. Every time it's brought up, it is dismissed out of hand by the local reigning authority on all things Variax. Requests for further clarification are generally refused on the grounds that it would be divulging "proprietary information". You do the math...

This is ALWAYS the way it goes. Doesn't matter what kind of box you're plugging into, or what ins and outs you're using. Our biology is to blame, not the gear...

It's supposed to reduce the exaggerated low-end coupling that sometimes happens when you lay a speaker on the floor. Whether it happens at all, or to what degree probably depends on the floor, and how much bass you're pumping through to begin with...

QC strikes again...

I gambled $40 on one of those, more out of curiosity than anything else, not because I was unhappy with my sound. For what it's worth, there is a subtle difference with it in the chain. Certainly not night and day, but I can tell when it's on. Also makes a HUGE difference where you put it. At the suggestion of someone here on the forums (I forget whom at the moment...my apologies if you're reading this ;)), I stuck in the FX loop as the first thing in the chain, before even the noise gate. Was the only place I hadn't tried...almost anywhere else you place it, it sounds like a maxed-out compressor. Not pleasant at all, at least not for me. I was ready to toss it, until that was suggested to me...now I kinda like it. But I could live without it if I had to.

That's possible. Were you changing patches when it crapped out? Do some patches on the POD work, or is everything dead? If some work but not others, it's likely that the input on the dead ones are not set to "Variax".

I still own a tube amp (well, a power amp anyway), but it sits in a rack case unused. For a while I had been sitting on a few tube preamp/multi-fx units (Rocktron, Digitech, and the aforementioned ADA ;)). But they were all collecting dust too, so I sold them off, one by one. I have no plans to go back to a tube rig. The tones I get from the POD are so damn close to the real thing that whatever subtle nuances might still be missing, just don't bother me. And the audience wouldn't know the difference if their lives depended on it. I also need acoustic tones live. It took a while, but I finally managed to get a patch that works well with my JTV. Yeah, I could run one straight to the PA,but frankly, I'm a miserable acoustic player. Never had a feel for them, and this way, it's one less guitar to bring. Being able to get convincing acoustic tones from a solid body guitar is a godsend for me, and you absolutely cannot get that from anything but an FRFR set-up. Guitar cabinets just don't give you the frequency range you need.

It won't work with L6 Link, for some reason...I forget why. Not sure about USB. But those are physical outputs...the output mode doesn't matter. Global EQ will work with any of them.

Yeah, it was months ago. One and done, hopefully... The only annoying glitch that I have (chronic, but it comes and goes) is occasionally I'll roll the volume all the way off, and after a period of time (which can range from just a few seconds to several minutes if I set in on a stand for a bit) the volume will crank back to 100%, without touching the knob at all. Sometimes I can reproduce the symptom at will, sometimes not at all. These guitars are weird...

Global EQ has nothing to do with the output mode. It'll work just fine with studio/direct.