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cruisinon2

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Posts posted by cruisinon2

  1. Hello.  I have an older JTV-69 that I bought used (not sure year, but probably when they first came out), and the neck finish is on the glossy side (maybe more like semi-gloss).  From playing a new model JTV-69, I noticed that the neck finish is very matte, almost feeling like bare wood.  I much prefer the feel of the older neck with the glossy finish.

     

    Does any one know when Line 6 switched finishes? 

     

    Can't say for sure, but they may not have changed anything. That satin finish doesn't last long. Oils and perspiration from your hands will literally polish it for you over time. Every guitar I've had with a satin finish neck [as opposed to a heavy, polished laquer] has been like that. Had mine little more than 2 months, and even in that short time, just from daily use the neck now looks and feels much different than it did out of the box...more of the "glossy" feel that you describe. Difference can easily be seen comparing the neck to the back of the headstock, which isn't getting handled at all. Don't even have to touch it...it's easily visible. So if the used one you bought was played a lot, it doesn't surprise me that it feels different from a newer guitar.

     

     

     

     

  2. On my 500 I get that when connected to workbench.  My JTV pots are silent when connected to my Pod500x.

    On my 500 I get that when connected to workbench.  My JTV pots are silent when connected to my Pod500x.

    I've noticed that with the JTV, too. Odd, but never happens without being connected to Workbench, so I can deal with it while tweaking things...as long as its quiet through the amp.

  3. To be fair.. As far as "gain" goes.. Most Nickelback and Dream Theater tunes are probably close to the same. Tone and technique absolutely varies.. Which is the perceived difference to our ears. I'd like to think that most folk understand that "high gain" is anything "Metal" or heavier. Personally.. It doesn't matter to me weather It's Black Metal, Death Metal, Heavy Metal.. Pink, Blue, Green, Orange, or Purple Metal.. It's still Metal.. And Metal equates out to high gain no matter what shade of the rainbow type of Metal it is.

     

    Also, FWIW.. I thought Dream Theater was Prog. Rock and Nickelback was Rock.. Or did they create a few hundred more genres to classify music into?

     

    All I meant was that "high gain" tends to mean different things to different players, depending on your style/taste.

     

    As far as what "Metal" is...according to an 11 part documentary series [i'm sure that wasn't an accident...lol] from a few years back, there is a dizzying array of sub-genres...enough to make you laugh sometimes. Don't remember the exact title, but that series categorized everything up the yin-yang, with a flow chart of sub-genres that can make your head spin...many I'd never heard of before.

     

    But anyway, I really just curious about how much gain you can really get out of the 11R...if it's high gain capabilities and with Stones-y/ Zep kinda tones, then it wouldn't be for me. Love Zeppelin, just don't play that kinda stuff much.

     

  4. That's actually a really good idea.. Especially since they have voyaged into those waters with the AmPlIfI gear

    That's actually a really good idea.. Especially since they have voyaged into those waters with the AmPlIfI gear

    And the Sonic Port...odd that iOS would be embraced for some products and not others. I know a bunch of guys who all keep an iPad on a music stand on stage for lyrics, set lists, etc. Wouldn't be that hard to build an app for HD edit.

  5. I don't think they advertise that P/N on their website, but it is orderable. I got the P/N originally from a Line6 Support person. I'm pretty sure I got it right - I just re-checked it against my order acknowledgment from Full Compass. It would be nice to see a pic ahead of time...

     

    If you call Full Compass, you can order it over the phone. 608.831.7330 or 800.356.5844.

     

    Ahh...that explains it, thanks! One more question. I'm assuming that the new one will include only the hardware, and not the board mounted to the sustain block that all the piezos are soldered to, correct?

  6.  

    • Most of the pickups sound very good :-)
    • Two of the Graph Tech pickups sound kind of lifeless or have a high frequency resonance. I can change that somewhat by moving the pickups slightly from side to side, but I can't make all of the pickups sound good at once.
    • I am really not sure what the cause of the funky sound is. It could be the angle of the string over the saddle. It could be something else (theories?).
    • The pickups are definitely higher toward the rear than the original pickups (see pics in the links below). This causes the screw to run up at angle from the back side of the bridge, which may be putting force on the pickup. I bought some nylon screws (4-40 3/4") to see if the flexibility might help. Haven't installed these yet.
    • I also put nylon washers under the Philips head end of the intonation screws on the back side of the bridge.
    • I discovered that there has been a bridge update by Line6 since I got my JTV69 (mine was a very early model). Not sure of everything they changed, but one thing they did do was move the PCB to the back of the block, apparently.
    • Suspecting that the bridge itself may be affecting the tone/sustain, I ordered an updated one from Full Compass. About $185 with piezos included, so not too horribly overpriced. P/N 50-04-0066. Should be here in a week or two.

    Anyway - haven't found the Glail yet. Still searching :-)

    Pics here: https://app.box.com/files/0/f/1705119386/Variax_Pics

     

     

    Sorry to hear that you're still having issues...

     

    I'm curious about the bridge you ordered. That part number doesn't turn up in the search at the full compass site. I scrolled through every Line 6 part they claim to have, and didn't see an entire bridge. Maybe you got the last one...lol. Could you point me to it? Thanks...

  7. AGREE  !  PLEASE LINE 6 make a master list of tones to audition evaluate  - how can that NOT be available ??

     

    Either because there are just too friggin' many to catalog, and it's not worth the man-hours paying somebody to do it (I wouldn't want that job...), or there are frighteningly few, which would be lousy PR for their latest "re-invention". Either way, you're not terribly likely to get your list...

    • Upvote 1
  8. Hi-

    I've had a JTV59 for about a year now. I LOVE it. I used to have to carry a ton of acoustics along with my electrics and the JTV/HD500 Combination has made my life so much simpler, thanks Line 6.

     

    My issue is this- I use it through a Bose system. I'm a multi-instrumentalist and so my keyboard and mandolin go through it too, along with the HD500/Variax. The rig has made my life much simpler.

     

    For the Acoustic sounds, this combination works pretty well. For the electrics, not so much.

     

    My QUESTION is this:

     

    When you guys set up your sounds in your HD500 for your Variax's- do you pretty much leave the EQ flat or does each patch get EQ'd differently?

     

    If I take the sounds straight from the Workbench into the HD500, that's obviously pretty simple, but while these sounds are great through headphones, sometimes in the live situation it's not that great. It's almost like there needs to be a basic amp setup in the HD500 that is just killer, then all the sounds from the workbench go there to take advantage of those great amp settings.

     

    I'm probably looking for an overly simplistic answer here, I just tend to get wrapped around the axle trying to dial in perfect tones.

     

    Not really sure what you're driving at...I've never had two different patches with all the tone controls set in exactly the same spot. Especially switching from one amp model to another, one size definitely does not fit all. If the problem is that your acoustics patches (which ideally won't be using any of the 500's amp models anyway) sound good running direct to a PA, but not the electrics with amp models, then the answer likely lies with whether or not you're using full amp models or pre-amps only, and also what output settings you are using...studio/direct, combo/front, stack/front, stack/power amp, etc. Each will color the tone differently, and some experimenting is usually required to get it to work with the rest of your gear.

  9. I've never looked under there, but one would hope that you could just spray some contact cleaner in there without too much drama. You should never have to ship a guitar anywhere to deal with a scratchy pot...if it needs to be replaced, I suppose that may be more complicated with these guitars. I think I've only had one volume pot die completely over the years, so hopefully that's not necessary. Dirty/scratchy pots are a frequent problem, however, and if the only way to deal with it is to ship it to L6, they've set themselves up for a whole lot of headaches for a problem that should take 0.84 seconds to solve with an aeresol can.

  10. Most mag pick-ups pass the current generated by the vibrating string through the pole pieces under all the strings. The effect that generates the current works in reverse too - a varying magnetic field can cause a string to vibrate, but at a low level because there are a lot of losses. Unless you pump up the current using an Amp circuit in which case you have a Sustaniac. The effect in both ways is proportional with distance, so the closer string and pickup the more it happens and the further away the less it happens.  The two sets of coils/magnets in Humbuckers will generally cancel each other out which is why it is most noticeable on single coil pickups.  

     

    "And why only with the alt tunings?"

     

    This is a physical sympathetic vibration thing (with or without the magnetic effect) - you play a bottom E for example and all strings will try to vibrate at the same frequency - none will achieve it, but depending on what you have fretted some strings will vibrate at the first or second octaves.  

     

    So play just a bottom E and the top E will vibrate on E as well without you touching it, but you don't notice it because you can hear the fundamental E and sympathetic vibrations are completely masked because they are the same as higher harmonics on the plucked string.

     

    Now Alt tune the bottom string down to Drop D.  The guitar is unchanged, the physical sympathetic vibration is unchanged, you played and E and the other strings are vibration to E, and because they haven't been alt tuned you will still hear that E, but the fundamental note you are hearing is the alt tuned D so the little bit of E doesn't go so well any more.

     

    All of that I'll buy...makes perfect sense they way you've explained it, and obviously you know more about this than I do, lol. Like I said, I'm no expert.

     

    But L6 has apparently told him that the issue is one of blended mag and piezo outputs, and that's what I don't understand. Is it not possible to completely isolate the mag's output from the piezo's? Unless you've gone into Workbench and deliberately created a model that blends them (which can give you some really cool tones blending the acoustics with the single coils, btw), why would the mag output be bleeding through if you haven't "told" the guitar to do it? If you can't totally choke off the mags when using the models, I would think that just about every Variax would be useless in alt tunings. What am I missing?

  11. Thanks Cruisin' for the explanation of dominant resonant frequency. And that was a cool fix on your Marshall.  Unfortunately, these AMPLIFIs are built in a way that seems to discourage taking a peek inside. For me, it'd feel like taking a screwdriver to the foreboding Monolith in 2001, A Space Odyssey.  So for now, the wedged pick is my best 'place-holder' answer.  Maybe someone else has opened up this hermetically sealed box and can tell us what the innards look like -- anyone?  AE

     

    Lol...yeah, "no user serviceable parts inside". Never seen an Amplifi in person...is it a plastic enclosure, or some kind of composite material? I think when there's a bunch of plastic parts all shoved together, this kind of vibration issue is more likely to happen. Less problems with a big wooden box...at least that you can tinker with it, if need be.

  12. The pull from the pole-pieces of strat style pickups can cause very strange overtones.  Certainly possible that this would be audible on the piezo output.

     

    I've seen his other posts...he's hearing two distinct pitches, which in an alt tuning could certainly be caused by the mag pickups' signal being sent to the output along with the piezo's. But I can't see the magnet pulling on the strings causing the two signals to blend, which  is what he said the "official" diagnosis is...unless I misunderstood his post.

     

    I'm no expert, but if blending the outputs is the problem, doesn't that almost hafta be an electrical issue somewhere between the pickups and the output? A magnet too close to the strings by itself (assuming no other malfunctions) might pull them out of tune slightly, but how can it result in him hearing the kind of dissonance that you get when notes a 1/2 step apart are arguing with each other?

  13. I don't know if this will be of any help or not, but here is my experience. I have a JTV-69s and I have been experiencing ghost notes when using the piezo pickups in alternate tunings. After sending a recording of this to Line 6, they agreed to have me send it back to them to have a look. You will not believe what they said was the cause of these ghost notes!

     

    Official word is that my guitar was set up with the strings a bit too close to the mag. pickups. Oh, and I also had changed string gauge to 9 - 46 custom set. This was set up with the same string heights as on my Strat. They said that the magnetic pickups were causing the ghost notes while I was in Piezo mode. I have not gotten it back from them yet, but when I do, I will update this. In the meantime, for God's sake don't change your strings to a lighter gauge and keep them away from the pickup poles!! Interesting. They said nothing about these restrictions in their glorious marketing materials or their Pilots Guide. Amazing...

     

    Well, blended mags and piezos will certainly create a problem in alt tunings...you'll have competing signals producing different pitches, so that's not hard to believe at all. And since blending the signals is a feature, if something is wrong deep in the electronics somewhere, maybe this is the cause of your problem.

     

    However, their explanation as to why this is happening makes absolutely no sense. I fail to see how the string's proximity to the mag pickups could possibly cause their output to be blended with the piezos. Ditto for the string gauge...the mag pickups neither know nor care what guage string is being vibrated in their presence. No way that's causing the issue either.

     

    And why only with the alt tunings? The mag pickups are the same distance from the strings no matter what tuning you're in, so if that were the cause, you should have blending going on all the time...the models wouldn't sound right even in standard tuning, and I'm sure you would have noticed that, especially with the acoustics. As I said, if you blend the mags and use an alt tuning, you obviously will have problems...and that may very well be whats happening, but neither the distance to the pickups, nor the string guage caused it. I call BS on the "official" explanation...gotta be some internal electrical issue, bad board, etc.

  14. Hi, Did you take your amp back? Mine has started to have the vibration issue you mentioned. Weirdly enough it also only happens on certain notes.......especially the A note on the sixth string. 

     

     

    Not weird at all...all solid objects have some dominant resonant frequency. Play that frequency loud enough, and you'll shake it apart. We've all seen the opera (ugh... ;) ) singers who can crack the wine glass with their voice. Same thing is going on here. Somewhere in the bowels of the amp, something's rattling, apparently at 100Hz. . . Google "Tacoma Narrows bridge" for the worlds most unfortunate example of this.

     

    But I digress...I've got a Marshall 25th Anniv. cab that had a nasty rattle once. Don't remember what note set it off, but the fix was easy. This thing has a 2"x2" wooden post, that I suppose is there to support the back panel. It's screwed into the front panel where the speakers are mounted, and just sits against the back panel when it's in place. I guess it just worked itself loose after many years of use. I cut a square of material from an old guitar cloth and just stuck it on the end of the post to tighten the fit a little, put the back panel back on, and it hasn't vibrated since.

  15. Hey guys,

     

    just saw a presentation last week from a big vendor of storage systems and at the end of the presentation you could win a whole day of an expertised field engineer to look upon your Systems. This lead me to the Suggestion,  that Line6 may conduct a competition where you can win a sound engineer who will setup your dreamstage at a gig and will share some deep knowledge of what the components are capable of and maybe show off one or two tricks on the handling. What do you think about this, fellow dreamstage users? :)

     

    I'm sorry, but I gotta ask...this presentation you saw...are we talking storage systems, as in big empty boxes that you stuff old crap in (because I've seen these referred to as "systems" before), or was it a computer data storage kinda thing?. 'Cause if there are people calling themselves "field engineers", who's job it is to tell you how to fill the giant tupperware containers that you store under the bed, I'm gonna laugh...a lot. :D

  16. no offense intended but some folks just can't make it work no matter what... I don't understand because I have none of these issues.  I don't know if it is in the approach to how you build patches or trying to force the gear to do something it wasn't meant to do, physical setup problems or what...

     

    oh well, there's always new stuff to buy and complain about!  LOL...

     

    That's just it...there is no universal fit for any piece of gear. I wanted a cherry red, flame-top Les Paul forever. Bought one...loved the look, loved the sound, but it never felt right. Had it for 6 months and sold it. Don't know what it is, but they just don't feel comfortable to me. Just couldn't get used to it...played Strats for too many years I guess. Sounded like I was playing with a broken hand. I've made my peace with it... :(

  17. I've played exactly one guitar in my life that didn't need any set-up work right out of the box...and that's because that one didn't come in a box, as it was hand delivered by the guy who built it.

     

    Any assembly line guitar (and I have many), no matter how much you pay for it, is likely to need set-up work from the get-go. In my music store jockey days, I unboxed numerous comically expensive axes from big name manufacturers that were almost unplayable...action you could drive a car under, poorly dressed frets, etc. etc. Hard to imagine that some of them were played at all before they left the factory. It was really embarrassing to be hanging two and three thousand dollar price tags on some of these things. Now that's not to say that those instruments wouldn't be perfectly acceptable with the right attention...it's just that at those price points,some of them should not have needed the amount of work that they did.  Point is, this has been an unfortunate norm for many years. Was it always this way? Who knows...

     

    I'd take it to a luthier you trust, and let him have a whack at it. Unless there's a glaring defect(s)...warped neck, etc, it probably just needs a good once-over from somebody who really knows what they're doing.

  18. The 11R is a great piece of equipment. If high gain isn't your thing.. You certainly can't go wrong. Mid gain tones all day long with them, and they sound fantastic doing it. I still am debating on picking one up.. But unlike a lot of people, I'd get rid of Pro Tools since there is an 11R editor now. I prefer Logic. Doesn't hurt that I have one of them Behringer MIDI foot controllers already, too.

    In my experience, "high gain" has about 1000 definitions. Are we talking Nickleback, Dream Theater, or Norwegian Death Metal?

  19. A number of guys have gone with the Mighty Mite necks and been pleased with the results. They can be found any number of places online. I recall a thread in which someone who claimed to have worked for Warmoth said that their strat necks would not fit the JTV for some reason, but I have a Warmoth neck on one of my Strats, and a buddy who did a transplant with his 69. Just for laughs, I took the neck off the strat just to see if it would fit in the neck pocket of the 69 body, and it slipped right it with no issues. Not too tight, not too loose.Obviously the holes didn't line up so I couldn't put strings on, but I measured all the heel dimensions of both necks, and they were exactly the same, so I can't see a reason why it wouldn't work...but then again this was only half an experiment. I should also note that the Warmoth neck in question is about 15 years old, so who knows if their specs have changed slightly since then???

  20. I was able to get it working after a few more tries. Not sure what I did, but all seems good now.

    I was able to get it working after a few more tries. Not sure what I did, but all seems good now.

     

    It's probably nothing you did. It is an iffy process on a good day. Why I don't know. Many tales of woe on here about updating problems and getting Workbench and/or Monkey to recognize the guitar...same thing has happened to me. Sometimes I think it doesn't like which way the wind is blowing...

  21. This is not meant to be discouraging, only to prevent you from wasting a lot of time. The ugly truth is that 1000 of us could dial in a patch that mimics the tone as closely as we can get it, and you could download them all...and you are likely to have 1000 fresh, but useless tones on your hands. There are simply too many variables involved, from the guitar and amp used to do the tweaking, to each person's playing style. No matter what you download, its not gonna sound anything like it did to the guy who dialed it in. If you need proof, download anything you want from custom tones, and if it sounds anything remotely like what its supposed to, I'll buy you a case of whatever your favorite poison might be....it might sound like Eric Johnson to the guy who spent 3 hours painstakingly turning knobs and pushing buttons, but in your hands it could just as easily sound like Johnny Ramone. Such is the nature of modeling amps...nothing will replace the trial and error phase. There are no instant drag-and-drop solutions here. If you need a jumping off point, try picking a factory preset that is at least in the same vague ballpark as what you're looking for, and start making changes from there...I swear this is the only thing that works. Once you get a feel for a few different amp and fx combinations, getting tones you like will come quicker and easier...I've tried the other approach, and it's like pi$$ing into the wind...since you'll hafta start from scratch anyway, why do it with wet shoes?

    • Upvote 1
  22. http://line6.com/support/topic/111-make-your-variax-sound-100-better/?p=20716

    I had actually remedied most of the issues with this physical altercation to my guitars I have pictures of them in this link it may help you also...  Good luck

     

    I appreciate the response, but I've already tried all that. Its pretty clear to me whats going on from the poking around I did with muting the string in Workbench and positioning my hand various different ways. At least in this case, its not the nut or the bridge thats the culprit. The crosstalk is definitely propagating from the A string---> palm---> adjacent string and it's saddle. Its the only possibility, as I've corrected for everything else, ruling out one thing at a time. I can produce the odd sounds, or make them vanish at will, and its all about where I put my hand, changing nothing else.

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