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Posts posted by cruisinon2

  1. Quick update. Talked to Gray again this AM. He said that they do not currently sell the PN-8002-RO, but that he found 6 individual pieces, matched them (output level, I assume) and has shipped them to me. I'll let you know how things go when they arrive.




    Nice...but something tells me you're only getting them because it was their fault that the picture and description were screwed up on the site. Anybody else is gonna be out of luck...congrats, tho!

  2. Nah. I have 2 cabs.. Both have a 12 and 2x8's. One reads out 10.21 ohms on the meter.. The other, 8 ohms even. Run in parallel, that's roughly 4.5 ohms.. Which should be safe to run.. I'm just checking here first, lol.

    Attached a pic of the 2 cabs. . They're between the Mesa and Marshall 4x12 cabs.

    Wow...that looks like a fun room! I got a Mesa 2x12 cab I'm getting rid of...seems to be the only thing you ain't got, you want it, lol?

  3. I've tried that thru a million different amps over the years. It'll work...in the sense that sound will come out, but don't expect it to sound too good. Acoustics through any electric guitar amp will never give you a true "acoustic" sound. They just aren't designed to reproduce that wide a range of frequencies. You need either a dedicated acoustic guitar amp, or run it through the a PA.

  4. So, I would lean slightly toward a 69S, but more likely, I'd go bat-lollipop-crazy and grab a USA /Custom shop. Because what else would I need a spare $5,000 for ? ;)



    Before you pull that trigger, make sure you dont mind that the USA model has the truss rod adjustment at the heel. From pics I'e seen, is looks like theres a recess to accomodate adjustments without removing the neck, but I'm not sure. That would be a deal breaker for me. I have an older Warmoth neck on a Strat, before they moved the adjustment screws to the headstock...makes me insane. What should be a 4 second process can take a half hour, especially if more than one turn of the screw is needed...and taking the tension on/off the strigns like that deadens them. Never understood that design.

  5. I might pick up another at some point...either another 69, or the 89. Mostly I'm curious if some of the 69's oddities are universal, or just peculiar to mine. My only real issue is with palm muting the open A string with higher gain amps while using any of the drop D tunings (drop D, drop Db, DADGAD). If I rest my hand anywhere near the low E string, I get some odd overtones coming thru...it disappears if I reposition my hand slightly, so it's no deal breaker, but still annoying, as I have to think about it and adjust. Definitely curious if they would all do that...could just be something in my technique that doesn't jive with a sensitive piezo...would love to find that out, but I'm not doing a $1000 experiment right now, lol. Never seen one of these in a music store anywhere near me, otherwise I'd try it out that way...

  6. I talked to Gray @ Graph Tech this morning and sent him the links to pics and their website, and he realized right away that their website pic was indeed bass-awkward. He said he'd contact his web guys and have 'em fix it. I just looked now (link), and they've already fixed it. Pretty fast!


    He's gonna send me the right... err... correct saddles immediately and send me an RMA for the wrong ones. Good customer service, despite stumbling out of the chute.


    That's good to hear...at least they took care of you.

  7. i'm sure not overdriving the amp, i use an A/B split, and the volume, the clarity, the sound of the guitar is the same using guitar>amp or guitar>pod>amp (adding +6db into the pod mixer)


    i tried all, all setup possible, and remember that into mixer or computer it sounds good!


    Well that leaves two possibilities:

    1) There's something wrong with the amp, and not the Pod




    2) The combo of the Pod and your particular amp just isn't working, or might require a little extra work to nail down a set up that sounds good. I tend to think that this is the case. As much as I like the 500X, it's not the easiest thing to work with...almost too many options sometimes. I have also found it harder to get a goodsound through my amp, as compared to headphones. In fact, I have two totally separate banks of patches...one for the cans, and another for my rig.

    • Upvote 1
  8. But a guitar amp that only has an instrument input is not a good match for the Pod if you want to use its amp and cab simulations....


    That's not necessarily true. The "correct" output settings may or may not sound good, depending on what's in the rest of the rig, the guitar he's using, and his fingers. The combo/front, stack/front, stack/power amp output settings are just applying different EQ to the signal anyway...there's no way that these settings can be expected to work with every amp out there. More than a few of us on here use the studio/direct output, some with cab sims, some without...running into all sorts of amp set-ups (various combos, power amp/cab rigs, etc), with good results. It's been discussed in several other threads. As what sounds "good" is entirely subjective, there really is no "right" or "wrong" way to set things up.


    The 500X just isn't a "plug it in and play" amp. Needs work to get it to sound the way you want it.

  9. Well, my Graph Tech Ghost saddles were waiting for me in my mailbox when I got home today. Woo hoo! Unfortunately... it looks like that Graph Tech may have the wrong picture on their website for the PN-8002-LO (link). What they shipped me in a hermetically sealed package labeled "PN-8002-LO" has the positioning screw on the other side. Pic here: https://app.box.com/s/xwz6jead34m5e744nz9i


    Kinda bummed. Will contact them and see what went wrong, and return them tomorrow - hopefully they will cover the shipping.


    Quality control sucks everywhere these days. Uniform mediocrity almost seems like it's a goal now...hope they make it right.

  10. I spent some time with the Spider. Took it to the bands practice last night. We ran through 2 full sets of material at our gigging volumes.. And the amp worked out in a rehearsal environment. Saturday will be the test. I found Blues tones to be easier to dial in at higher volume.. Actually using some of the green metal channels with the gain rolled way back. I actually found that being limited on effects has made life easier.. I have 2 clean and 2 dirt channels set up.. Generally with moderate chorus on for both clean channels and a very sleight chorus on dirt to fatten up the tone a little. Little bit of reverb on everything.. Delay is generally reserved for solos.. And I have a tube screamer set up on my dirt channels for a little more oomph.. And a compressor on my clean channels. Very basic. Very simple. It cut through the mix at rehearsal. We usually record everything through a handful of MICs placed throughout the room and you were able to hear my guitar just fine.


    Sent from my iPad.


    There's something to be said for simplicity...but I've really started to enjoy messing with all the deep edit parameters on the 500x...sag, bias, etc. Amps are like tattoos...you're never gonna have just one, lol.

  11. My point is that using the  VDI Ethercon connection sounds a bit "sterile" to my ears - I find the JTV-59 +HD500 combo sounds better (to my ears) with better dynamic range and better tone using the 1/4" Normal Guitar cable.


    I haven't done much of an A/B comparison, but even if it does sound better, I'd hate to lose the ability to change models on the jtv and the HD simultaneously...and I really hate batteries. I'm afraid to even give it much of a try now...lol

  12. Does anybody know what a good substitute for the Big Bottom amp model would be on the 500X?


    Let the experimenting begin...it' sucks, but it's the only thing that's gonna work in the long run. I'd love ready made patches that sound amazing through my rig, but there are just too many variables. What sounds great to me through my gear might be nails on a chalkboard to you. Just the nature of the beast.

  13. I have no doubt in my mind that the L2 will not output 128db even for one second. It might handle or give 128db for a small fraction of a second or few milliseconds and that's at one foot. The marshall measurement you provided was at a distance of one meter and that's more than Three feet!! I will also be willing to bet that a 30watt tube amp will be louder than the L2 at one foot. So the 100 Watt Marshall will not only be louder than an L2, it will be significantly louder. A 100 watt into 4x12 is really too loud for most venues except the very large ones and that doesn't make the L2 an inferior product, it's just a different product all together, but as far as loud, it's no where near the 100 watt into 4x12.


    Well, 128db is getting dangerously close to the pain threshold anyway...exactly how loud do we need to get anyway? :wacko:

  14. Not hear to talk lollipop about what it is or isn't.. :)


    Done enough of that! It's not an HD and it's not a DT, big whoop.


    The conversation I am interested in, is the future of audio sound quality in general, and the place and role companies like Line6 and Apple will have in that future. Now, we all know that .MP3's are the bedrock of the iTunes business model. What is the top resolution on any given professionally mastered .MP3? 320kbps or something?


    Now, take a sideways gander at Neil Young, and his idea - which seems to be going forward, but not very quickly. Among his various projects, including the LincVolt, is his music player idea. I am not sure what the current name is, I think it's "PONO".


    To summarize, Neil Young wants to make iPod sized devices that will use music files rendered in Studio Master quality, iE, 24bit /192k. Here are a couple of links discussing this project:


    Pono - website


    Pono - Forbes


    Pono - Cnet


    Pono - Rolling Stone


    Ok. So, the future is BRIGHT for music! But the "powers which be" are going to need to change and adapt to stay current. I for one, have a huge library of music in MP3 format, and I rarely if ever listen to any of it. It's convenient, it's easy, it's portable - it's just not satisfying. That there is truly something lacking in music dumbed down to MP3 is fact, evident, and real. It's not just a small percentage of the population with advanced ears who can tell the different between a 24bit .WAV file, and a 320kbps MP3.


    That being said, Line6 is already on their way to higher definition, higher resolution audio. The HD series amp modelling is their first serious foray into that market. The Amplifi, for all it's next gen conceptualization, is not. Because it is built on the premise that MP3 is acceptable. Now, you don't HAVE to use MP3's, I would imagine if you put a .wav file on your iPad, and stream it Bluetooth, it should still all work, and if the metadata can be saved with the .wav file, then tone matching should work.


    But what about a 24 bit / 192k .wav file? Because that is what PONO is trying to do. According to the Rolling Stone article, major studios are already on board with this concept, and have already begun the process to render their catalogs in the higher definition audio.


    To quote Neil:


    "The simplest way to describe what we've accomplished is that we've liberated the music of the artist from the digital file and restored it to its original artistic quality – as it was in the studio," wrote Young. "So it has primal power."


    "PONO starts at the source: artist-approved studio masters we've been given special access to," Young continued. "Then we work with our brilliant partners at Meridian to unlock the richness of the artist's music to you. There is nothing like hearing this music - and we are working hard to make that experience available to all music lovers, soon."


    From my perspective, the Amplifi will quickly find itself at a cross roads if something like this gains traction, and for my $$s, I am 100% onboard. MP3's are horrible, for quality listening. They are the fast food of the music industry. MP3's take everything special about music and distill it to a bland, low quality snapshot, lacking in the true essence of why music moves us all, and motivates us to spend so much time and money on gear to MAKE music.


    Sooner, rather than later, companies like Line6 and Apple are going to need to quickly change their tune, and gear like the Amplifi will be caught in that cross current. I think the idea of Amplifi is great. I find the execution lacking, but that doesn't really matter. It's how Line6 responds to what is coming, and still yet to be that will define them going forward.



    The only thing I disagree with is people's desire for, and the industry's willingness to provide, a quality product. We (collectively) have an amazing tolerance for absolute crap in this country. And we seem to value convenience over quality in just about every way imaginable. Add to that the fact that the music industry is a dinosaur, in a lot of ways still desperately clinging to an ancient business model that continues to be WAY too slow to embrace new technology when it comes down to how they are going to sell you the final product. How many years did they waste trying to maintain their stranglehold on the CD market, with it's hilarious profit margins? All while completely ignoring the fact that people obviously wanted the a la carte iTunes model. It's the same thinking (or lack thereof) that killed Detroit.


    I agree that MP3s don't sound great...but I also think that the average person neither knows, cares, nor has an expensive enough stereo to hear the difference. They think that Britney Spears and Lady Gaga are actually singing as they twist themselves into pretzels, while galloping from one end of the stage to the other. And they're listening through 4 cent earbuds, or $300 everything-in-a-box surround sound setups with worse speakers than a bullhorn.  Get it cheap, get it now is what matters to the average consumer. Musicians and (mostly) well-heeled audiophiles will never think that way...but that's a tiny percentage of the music buying public, and thus they will be ignored largely ignored by an industry where the only genuine interest is the bottom line. Just my $0.02...

  15.  I mean is it possible, that one tosses the guitar away in error and saves the package?



    Oh, would that this were the case for some of the players I've encountered over the years...how many cases of first degree ear-slaughter could be prevented? :D

  16. Bear in mind that what it says on the screen is what it will change to when you hit the button.


    If the screen says Post, you're in Pre.


    If the screen says Pre, you're in Post.


    I've been caught out by this before.


    It's not a "defect"...it's a "feature", lol



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  17. I have the POD XT Live and X3 Live and both have awesome clean tome available right off the bat, what am I doing wrong with the 500x.


    Unfortunately, there are no magic bullets with the 500x...it takes a lot of work to get sounds that you like, and it can be frustrating at first. Folks will argue all day long about whether or not this is a good thing. Personally, I've learned a lot about what makes amps sound the way they do by playing with all the deep edit functions [sag, bias, ER [early reflection], etc]. Some of my favorite tones I sort of stumbled on by accident. I find clean tones easier to dial in than the dirt, by that's just me. I like the Hiway 100 amp...just a little reverb, and maybe a touch of chorus. There no way around the experimental phase, however. I've had the thing for a little more than 2 months, and I'm still working with it.  Try 'em all...you 'll know when you hit the right formula. The very last amp you thought you would like might turn out to be your favorite. I LOVE the Soldano models...never played through a real one, and never would have guessed that I'd use them as much as I have been. For clean sounds especially, the guitar choice will of course factor in, too. And it's all subjective anyway...trial and error is the name of the game.



    • Upvote 2
  18. Oh, I didn't lollipop know that...


    it's the nanny software that converts any curse words to lollipop..  buncha lollipopping mother lollipoppers...  :lol:


    We can all thank the lawyers and the PC drones who've spearheaded this sort of lollipope in the name of  "progress".

  19. Hi guys,


    I've just received my jtv59 and I'm a little underwhelmed by it, so I'm hoping someone can help.


    A few days ago I developed the perfect hi gain patch on the hd500, used it live, DI'd into pa using my schecter tempest hellraiser with emgs. The tone cut through the mix and sounded amazing.


    I was very excited to get the jtv59 hooked up and start jamming, however, when I plugged it in my tone suddenly sounded thin, brittle and uncomfortably sharp, not a patch on the tone I had created and used live the day previous.


    Can anyone help with this as I would like to have the tone I created and use it with the variax, but at the moment this seems impossible. Are there settings that I'm forgetting about? Or do I have to create a new patch altogether?


    You're likely to need to tweak things anytime you change guitars. Even if you had just switched between two traditional guitars with mag pickups, they're never gonna sound identical. And the JTV with it's piezo pickups is an entirely different universe. You'll probably find that you'll need to fiddle with the individual guitar models in Workbench as well...almost everyone does eventually.

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