pianoguyy

I used to always take my guitars and talk in to the pickups and make it come out of the amps after being changed by the effects. Of course, that was also back in the days when a truck driver's CB communications would be over heard through the amps as they drove by.

1. if you can't strum the "same strength" every time, then you shouldn't be recording anything. 2. your recording engineer/producer should be twisting the knobs to balance everything. not you. But, I guess that isn't fixing the problem of "different volumes every time you power up". So, tell us more about this problem. Be specific with what you are doing.

The problem with using wood as a tone comparison is the fact that wood comes from trees - which are living creatures. You can get two guitars of the same wood that do not sound the same. You can get two guitars made from the same TREE that don't sound the same. The guitar I have is made of wood. But it is a specific part of the tree. No one can ever have this same exact guitar because there is no way to make this guitar from the same part of the same tree. Wood is "once and done". Think of it like us. Humans. Vitruvian Man. We all have the same basic - two legs, two arms, two eyes. Our arm width is the same as our height. We don't have an eye on the top of our head and one on our knee. We are all generally the same. But it is the specifics that make us different. After an accident, I can't take a slice of your arm and put it on your head to fill in where your skull got crushed. Why would wood be any different. The 3 year old growth will sound different than the 10 year old growth. Center wood is different than outer wood. The way the wood grains run and where they are hit by the strings make a difference. Even twins/clones. They may start out the same. But every day they grow to be different. So, while I believe that wood has less of an affect in electric guitars that are being run through processors than it does acoustic guitars, I also believe that it is not just "the wood", but the combination of specifics.

I am not going to read everything to make sure this wasn't previously discussed... Dual input is not the same as dual output. The two have nothing to do with each other.

Change guitars.

You think it is super annoying. But I think you are acting super amateurish by not checking recording levels for each take.

For me, hardcore stereo effects like ping pong are typically for studio work. So few venues and systems are designed to get a great left-right separation. But, if you are in one of those situations, it takes a team effort to drive the crowd wild. That means renting out my soundstage so that you can design your patch and work it out with the sound guy and then get the light guy to trail the lights left to right as the sound goes left to right.

one trick is to use the same patch but have multiple copies under different names. That way you aren't actually making it for each song. I work for a large media corporation (but fully expect to be canned now that the one particular show moved to a new network after being canceled). So, I have to have the patches available when needed. For me. For others. They say, "tonight we are doing X" and it always has to be there. And then, because there are any number of songs that could be done in any order, instead of flipping back and forth between 1a and whatever patch I need to move to, I can just put the patches in order by song title even though 10 of 30 may use the same settings. Large database. But not as time consuming. yeah, it is different when you are in a "cover" band. And you have all intentions of getting up and doing the same 40 songs in the same order every week. But then someone always wants a request. Or the crowd is not reacting to certain stuff tonight but getting a kick out of others. That's why you can have the individual song patches arranged in order. But then in another setlist, or maybe at the end of a setlist, you can always store 'generic' patches so when they want a certain tune, you can go to something that will work.

The problem with allowing a Streaming Service to dictate "artistic expression" comes down to money. Is anyone making money from streaming? I mean, other than the streaming service, of course. If you aren't Taylor Swift, you aren't making money from streaming and she is only making a pittance in comparison to other sources. I am not in a non-profit business (even non-profits turn profits, lol). Unless you are TS, you are playing for free online. Let's let paying customers dictate

The old Jackson Soloist (I can't speak for the modern ones or the imports) were 9-10lbs. And that was light next to a Les Paul.

It's in the Owner's Manual.

except, GLP is no longer solid. The young sissies that need their "safe place" can't hold a solid GLP on their backs without crying. Gibson has been taking half of the wood out. The damn things are one hole short of being an acoustic guitar.

30 years ago (back in the stone age), when I was using individual pedals, I often ran two of the same pedals because sometimes I wanted (as example) a wah before the distortion and sometimes I wanted it after. There is no right answer to your question. No "one size fits all" solution. If you don't like the sound before the pod, put it after. Or add it to the fx loop before the amp or after the amp. ============ While giving examples of 30 years ago - I ran a noise gate at the end of my rig to shut down the noise added by my devices. But with my Pod, I use the noise gate first to cut down on the noise that the guitar makes. So, that's a good example of "there is no right answer".

Anywhere you want to put them. Wah pedals will probably go first in the chain. Noise suppressors will probably go first or last depending on what noise you are trying to kill.

forgive me if this has been said already... It is ok to use one physical amp - such as the L/Mono jack. But it is the signal chain that needs stereo. Summing to mono is ok at the jack/amp level but is bad in the chain.

you need to run them as if they are stereo --- one left and one right and make sure once you split them, that you don't use anything that brings them back to mono

And they are not in a separate section. They are just added to the list of amps. One long list.

Not everyone has problems with the DSP limit of the 500. We bring it up to new users the same as the masseuse says "your happy ending massage comes with a risk of death". They are just general disclaimers that the litigious society we live in has forced us to mention.

The sustain from a compressor isn't real. It doesn't actually make the string vibrate longer. But, it produces a perceived sustain. It does this by lowering the volume of the loud notes. I hope you can see the font manipulating I am about to do... oooooooo if you look at the O example without a compressor, you have a significant drop off in volume from the first and last note. But now imagine you have a limiter that only lets the O get so loud. it would look like this oooooooo In this example, you don't have such an obvious drop off. It isn't real sustain, but it makes you think it is.

The Model Packs are extra. Bonus material. Sort of like buying a car and having to pay extra for the sports package. Or like getting cable but having to pay extra for HBO.

Use your ears to hear what sounds best, not what your eyes see the screen showing.

If you plug a cd player into both amps, you will hear if any differences exist.

The most truthful answer isn't going to help you out at all... Any change in amp/cab/speaker is going to change the final sound.

I guess my wording was a bit off. What I meant was more like ---- But they aren't all the same model packs. As in, make sure you are buying the ones made for your unit. Rather than just randomly buying something that seems interesting, only to discover that it wasn't compatible with your particular device. Better?