cruisinon2

No and no....like every update that has preceded it, L6 isn't gonna say much of anything until the release is imminent. That's how they roll.

Afraid not. Without clicking on each snapshot to see what they do (if anything), you won't. Without a photographic memory, I seriously doubt any of us can. Yup.

I was intrigued by these when they came out...I know there were some initial complaints complaints about the position of the amp "drifting" to one spot in the sound field after a few minutes of use. Perhaps it's something that's since been rectified via a firmware fix? Either way, it's an interesting toy.

You can't. It should... but as you can see, the firmware "fix" for the battery overheating problem has caused various other problems for a number of us. Open a support ticket and see what they tell you. Personally, I'll only continue to use the two units I have with their diminished capacity and intermittent charging issues until the batteries crap out entirely, and then I'll be looking for something else.

1) That's a setup issue... bridge height, neck relief, whether or not the nut is properly slotted, etc etc, are all parameters that affect each other and the playability of the instrument. Despite the existence of "factory specs" (whatever they are), it's really personal preference. If you're unfamiliar with setup adjustments, take it to someone who is. 2) It's a carved top... don't think there's much you can do about that.

And you won't...that's the whole point. You're comparing apples and oranges. Once there's a mic involved, be it a real or virtual one, and you're listening through some other speaker(s), your cabinet doesn't sound like your cabinet anymore. Mic-ed amps monitored through some other output, vs live "amp in the room" tones aren't that same thing. This is why some guys just can't get accustomed to modeling... they need the feel of a real amp. You could spend the rest of your days searching for the IR that'll give you what you're used to hearing at rehearsal, but you're not gonna find it because you've introduced other variables. The mic sim and the speakers you're listening through have a huge impact on your tone, but with your DT25, there's nothing between your amp and your ears but air. Then there's the other crucial factor: volume. Gig/rehearsal volume and comfy living room volume are two completely different worlds... even if you were using the exact same rig in both situations. But here you're changing not only the output and various elements of your signal chain, but one will rattle the windows and the other won't. The degree to which volume affects tone cannot be stated enough. Taking all this into account, you've got your work cut out for you.... This is the "quicker way", as it were. Toggling back and forth between an FRFR output with cab and mic sims, and then removing the cab block or IR in favor of a preamp-only model into a real amp will always require (usually extensive) tinkering to get the results you want in both environments. You're doing two very different things. If you want to stay sane, the only real solution is keeping separate sets of patches for each usage scenario... otherwise you'll be tweaking your life away every time you move the Helix somewhere else.

This^^^^^^. The best, most carefully crafted IR in the universe, of any cabinet under the sun will never reproduce the sound of the real thing at your feet. The only real way to get the "amp in the room" sound that so many crave, is to have an amp in the room...

You'll get an infinite number of opinions. And all but one are entirely worthless... yours. If you've been using Greenbacks forever and that's what you like, then that's the best choice for you.

No. The modes are what they are. However, there's no reason that you can't do what you've described either in Snapshot, or Stomp/ Snap modes... you'll have to experiment a bit and see what works best for you.

An IR replaces your cab block... they're completely independent of the amp model you're using. It's just a fixed capture of a particular cabinet and mic combination. They're a bit easier to use, as there are no parameters to adjust as you have with the cab block. You drop it in, and you'll either like the sound of a particular IR, or you don't and move on to the next one... which brings us to the rabbit hole. A typical IR bundle will have dozens, perhaps a couple of hundred of individual files to sift through... different mics, mic positions, etc. It can become exhausting to toggle through them all to find the handful that you'll like and use regularly. Are they "better" than the Helix cabs?. Absolutely yes. Definitely not. Yes, but only on Tuesdays with a full moon... depends on who you ask. "Better" is in the ear of the beholder, just like everything else that gets discussed around here.

Yes...in all seriousness, don't bother trying to replace the mag pickups in this guitar. Lots of funky electronics in there... nothing looks like what you're used to seeing under the hood. Can it be done? Yes, but it's really not worth the hassel. We all bought these things for the modeling anyway... if you're in love a particular set of mag pickups, put them in another conventional guitar.

Something's wrong then... if anything, some of the models (especially the "Throaty") can be a bit overpowering, and you have to dial back the mix parameter a bit, and let some of the dry signal through so you're not completely drowning in "wah-ness". Where are you putting the wah block in the signal chain, and where do you have the mix set? It should be early in the chain (if not the first thing), or at least before any distortion FX.

1. Yes 2. I believe so... not entirely sure what the difference are, however. 3. Yes. 4. Maybe... don't know if the knob itself is the same hardware or not, but you can save whatever tuning you want to any position on the knob... you just have to remember what's what. 5. Given the target demographic, I would assume so...but I've never actually held an 89F, and you know what they say about assumptions... 6. NO, just the opposite... the 1/4" jack does NOT supply power... power is supplied from the Helix via the VDI cable. 7. According to the powers that be, yes... some sort of "overload" possibility exists if you use both outputs simultaneously, but they are rather vague about exactly why that's that case. Regardless, there's no compelling reason to do that anyway, so it's really a moot point. 8. Yes... you can trigger any model or tuning changes from the Helix.

I'd be suspicious myself. I'd kinda doubt that the rod was replaced, though. That's major surgery...can that even be done without removing the fretboard?

No it isn't a new discussion... there's virtually no topic that hasn't already been discussed ad nauseum around here, lol. But 99.97% of it boils down to personal preference. Perception is fickle, weird, mostly without a concrete explanation, and nearly impossible to duplicate from one person to the next. Nobody's "right", and there's no universal truth to be found. You'll either like an individual pair of headphones (or monitors, whatever), or you won't...and that's fine. But don't bother fixating on any one individual spec as a magic bullet...none of this stuff works that way. You could go out and spend $2K on some boutique mahogany shell 300 ohm headphones, hand crafted for the Sultan of Brunei, and end up hating them. My AKG 701's are all of 55 ohms, and I love the way they sound. All you can do is try stuff and see what you like. Plus, if the same cans sound good through an interface but lousy directly from the Helix (or vice versa), or they sound great for 11 minutes every other Tuesday, then it's hard to blame the headphones... they're not changing from minute to the next. which means something else is going on.

Well that assumes that whatever work was done to the instrument, was done by you back at the Mothership. And with what little info has been shared here, there's no indication that that's the case. One can have a neck re-fretted anywhere on earth... so it's far from a guarantee that there'll be a record of anything whatsoever on your end. Buying used anything will forever be a crap-shoot.

Well you wouldn't be plugging into the effects send on the Stomp...that's for an outgoing signal from the Stomp, not incoming from another device. But that aside, what you really need to consider is whether or not you want to be able to place any of the Stomp's FX before your amp...distortions, compressors, a gain block, etc. If the answer is yes, then you'd run Gtr>>Stomp gtr In >>(FX send)>>Amp In>>Load Box>>Stomp (FX return). Then just place an FX loop block in the signal chain wherever you want the amp to be, and you can then have both pre and post amp FX. You'll probably have to set the effects return to "line" level, as that's what the load box will be spitting out. I think defaults on the FX loop are "instrument" level.

The gear matters. Every pair of cans you throw on will sound different, I don't care how "flat" they claim to be. I have two pairs of AKGs...K701's that I love, and an old pair of K240's that I can't stand. The variety of outcomes is endless... and your example illustrates perfectly why it's utterly pointless to rely on someone else's recipe for success. With monitors, the results will much depend on the room you're in, too. If you've got hardwood floors and bare walls, then the highs will bounce around like a ping-pong ball. I'm in a room with carpet and a big fluffy couch...which unfortunately is where treble goes to die. And a room that's been properly acoustically treated will be different still... the same mix, through the same monitors, played in all 3 environments, will yield different results. Then there's closed-back vs. open-back headphones. The former tend to overemphasize the low end. The list of variables is as long as your arm, and the "secret sauce" will rarely, if ever, be transferable from one guy to the next. All you can ever do is learn how your gear behaves, and tweak accordingly.

Every time you change the output device, your tone is gonna change... and often that difference will be significant. Headphones and studio monitors are fundamentally different. Proximity is also part of the problem... if you dial in a sound with your monitors and then switch to headphones, the high end will always seem more prominent because they're right on top of your ears. High end frequencies diffuse quickly when there's a big air gap between your head and a pair of monitors, they get absorbed by lots of things in the environment the farther you get from the source... but if you stick your head right next to those same speakers, you'll hear unpleasant fizzy high end that way too. Unless you want to be in a constant state of tweaking back and forth, the only real solution is to tailor your patches for the output you intend to use... it means keeping different set lists for different scenarios. There no way around the initial grunt work.

Normal? Technically no, and in a perfect world a matched set of piezos would all have the same output, but in reality they're gonna vary...sometimes a lot. That's why Workbench exists. Don't use the global string volumes to correct it though... some models will exhibit this problem more than others...the Strat model is often the worst offender. Go into each individual model and balance the relative volumes of each string, and save it to the guitar. Otherwise you're likely to find that the balance that works for one model will throw one or more of the others all out of whack.

Post this in the POD XT forum... nobody's gonna see it here.

The ones that say "Made in Korea" on the back of the headstock are not the US models...;)

There was a discussion around here a while back in which the powers that be chimed in, indicating that all the JTV's do have a dual action truss rod. As handy as they are, there's still a limit to how far you can go in either direction, and it seems you've hit your relief limit. Since it's been re-fretted, I'm guessing you bought it used? If so, God only knows what was done to it, or how it was (or wasn't) maintained before you got it.

As Phil said, a wah pedal cannot function as an expression pedal... they are fundamentally different devices. And just to elaborate, if you choose to use the Cry Baby in front of the Stomp, get rid of the wah block from your signal chain... it won't do anything but use up DSP. Minus an expression pedal, you cannot use the Stomp's wah effects.

No idea, but you're confusing some terms...32D, whatever it is, is a "patch" or "preset". Set lists are banks of up to 128 individual patches. Also, you're gonna find a different "32D" in each factory preset setlist, however many of them there are now... it's been a while since I've looked at any of the factory presets.