pianoguyy

I don't use the firehawk. And when it comes to the acoustic guitar, I usually go for a plain sound... like an acoustic guitar. But I know others who use their units to alter their acoustic sound. Yes, you can get good tone with L6. The Ukelele, however, this is a different story. I would be curious as to the type of tone a uke gets anywhere, being that they are not 'powerful' instruments to begin with.

ground loop

While this feature is something you may want (and it was already partially on the HD units - I don't use the HX to know if it is still there), it is not something everyone wants. So, if it were to be implemented, I would prefer it be something that could by bypassed - or, as in the case of the HD units, assigned to be global vs per patch. For example, when I play my SSS (Fender Stratocaster), I am playing music that is completely different than when I play my HH (Gibson Les Paul). Which, again, is something completely different than my \nn/metal\m/ guitars. I have no reason to use my country twang patch with a black BC Rich Warbeast or my neon pink Jackson Rhoads. The same as my Martin Dreadnaught will never be using my Slayer patches. I simply don't need to 'level' the inputs like that. I don't "cross contaminate".

I happen to like the sound of (good) digital pianos in the studio. I find them much easier to work with than acoustic pianos.

What good is an electric guitar that simulates an acoustic guitar sound through an amplifier going to do at a camp fire where there is no electricity

I don't have an HX device to know what options they have available. But the general rule is that any sort of volume changes need to be last in the chain, otherwise it will change the tone you just created. Depending on patch design, you could also be told to put it at the end of the middle - after the amp, before delays and reverbs. In most instances, I disagree with this placement. The patch has already been designed. You are trying to do volume leveling. Putting it in the middle would be more relevant when you are still in the design phase of a patch.

No. Different units.

Back in the 80s/90s when CDs first came around, we had similar discussions (and then again when MP3 came around). As far as CDs go, I always found AAD to sound better than DDD. And today's bland mainstream music, I don't blame the digital. I blame all of the uber processed recordings - every auto-tuned note synchronized to a computerized timing clock. All while compressors/limiters make the volume for each note exactly the same. No amount of - "let's put it on vinyl" will make it sound any better. So, while not completely related, it is not unrelated to your question. You just have to look at all the factors, not just one. Because they all have a role in the final output. Even the L6 stuff, some people say they get better tone using it with a tube amp (but then they go and record on a computer). So, in that instance, it is the last stage of tone that brings out the 'warmth' for them. Change the speaker to get a little 'extra'. Everything else is that same bland digital that they hate, but the tube amp they like. How do they capture the tube amp warmth on a computerized recorder, is anyone's guess. Using myself as an example, I never used a tube amp. Once I 'completed' building my [previous/old] rig, it was all microchips. Nothing like today's digital experiences, but certainly not analog. But no one ever told me I was too digital/processed. No one ever told me my tone was lacking. They either liked what they heard or they didn't. *specifically a Peavey Bandit 65, two ART SGE Mach II, and a Rocktron Pro GAP (the black and red model).

Also confusing - the files are interchangeable with the devices, but each has their own extension and can't be found without the corresponding program.

EDIT finds the Pod. Monkey finds the Pod but cannot connect to L6. License Manager probably isn't connecting to L6 either, considering that if it could connect that your pack(s) would be listed in your purchases.

Without knowing your exact situation.... I had wanted to go (electric guitar) ampless for years the same as I do acoustic guitar, vocals, and keyboards, but I could never get the right tone. To the point that I even quit looking for 20 years, just simply giving up on the possibility. But, as fate would have it, in 2014 (after having heard whispers of 'modelers', and having only used it on toy-ish computer related gear) I needed to make a change to my rig. That is when I found that the technology has finally caught up to my 1983 desires. And now that I run a modeler and am ampless... I am never going back to amps ever again. And that brings me to you (and anyone else).... If you were to go with a modeler, it really opens up amplification possibilities. Such as in-ear monitoring. Or, a small system for small gigs and a large system for large gigs. All while never changing tone - which is something no one can say about guitar amplifiers. You don't need a guitar amp because the tone is in the modeler, you just need a generic system to hear yourself. $20 computer speakers. $200 mini-pa systems. $2000 personal monitoring systems. Go ampless, and let the sound man shoot your tone back to you via stage monitors. It really is an endless array of choices to fit your needs, all because you no longer need to consider tone as a primary function.

Fair enough. That just boils down to the different ways of using it. I don't use it that way, so I wouldn't think of those things.

it is still being sold in 2021, so I assume people are using it. *it was still being made prior to the Plandemic allowing governments to force everyone out of work. I can't speak as to if they plan on continuing to make it once the people wise up and rise up. Just to update this... I have noticed that the Pod (specifically HD500X, which is the latest Pod made) is no longer listed on the current product page.

I can understand at home, while designing patches, you may not want to pick up frequencies from the floor. But once presets are already made, and you step on a stage for a live performance, why do we want it off the floor? Stick it on the floor (maybe slightly raised on a box or something) at the front of the stage. Let the sound shoot up at you like a wedge monitor would. It has the angles built right in, perfect for floor usage.

What else do you have in the chain, and where is it? Some effects and their placement (before or after other effects) will cause effects to react differently.