pianoguyy

It doesn't really work that way. Create patches for use with an amp. Create patches for use without an amp.

If you are at home using a guitar amp - you don't even need GEQ because your amp has tone knobs If you are playing by yourself, you don't need it for filtering either - because you are the only guitarist, there is no 'mix' that you need to sit in.

You watched a video that is 2 days old (and are already posting about it), rather than the numerous posts and videos that have existed for the previous 7 years when L6 introduced GEQ in the HD series. But, anyhow.... As previously mentioned, Global Equalizer is... GLOBAL. It is in the name. I have said numerous times (remember, it has been 7 years) that it was misnamed, and should be the Master Equalizer. It is similar to a Master Volume knob, in the sense that it controls the entire unit. It is best used for 'room shaping'. Such as when going from room to room night after night - because they each have a different tonal response. Personally, I don't use it. Let the sound man earn his keep. And as far as this high/low filtering - many people use it that way (remember, it has been 7 years). But I have found that using it for Amp 1 requires a different GEQ than Amp 2. It can even be different if you use Amp 1 with Setting A or with Setting B. So, to me, unless I am in "a band" and have "one tone" all night, I would need 40 different GEQ settings for 40 songs. Forty settings isn't 'global', that's something that should be found within each patch.

There's a difference between a hand out and a hand up. I am not going to coddle someone. Now, had the dude come here and said he doesn't think the Marshall models sound like Marshall, and would like alternatives... that's different. But asking what models sound like a Marshall...

But I am the same kind of prick pretty much everywhere. I am actually a nice guy. I just don't deal with silly non-sense like 'which model sounds like a Marshall' - duh, the Marshall model.

and then the questions about the devices itself - Do you want stereo or mono. If stereo, do you want them to have independent volumes, or would you like to daisy chain them (one unit controls the master volume). Speaking of daisy chain, do you think you would want to daisy chain more than 2. Would you like other/multiple inputs - as example, at home, I also plug my mic into my monitors. If using live, do you want it to be on the floor, angled up like a wedge monitor or in the air on a pole. What kind of stages are you on - can you trust that you audience won't mess with the volume knobs if they are on the back of the unit.

Unless you are listening to Yes. In their case live music is always better than the recording....by a mile. But they are the exception to your distain for live sound. I mean live sounds - on video. I find too many times that what we are hearing on video has been altered for tv sound more than music sound.

First, which sound are you talking about... like, from which point in the video. Second, I hate live sounds, because you never know how much has been changed from the original. And until then... single coils or P90s will certainly help.

define tight do you mean - putting a noise gate at the end of the chain to instantly cut off signal or do you mean - using an eq to create focus or do you mean - any other possible varieties of the word tight Either way, you could do it with 1 block and a good right hand.

XLR is labeled left and right. It does not sum to mono. And because XLR does not sum to mono, I suggest that if one uses the 1/4" for any reason, to use a dummy plug to keep the left and right separated. This helps when designing patches, because you are always hearing your lefts and your rights the same way no matter which output you are using.

Once upon a time, maybe. But today's manuals aren't paper that need thumbed through manually. Open up your PDF and enter the word Marshall into the search box, it shows you all instances of the word.

https://line6.com/support/profile/1904183-pianoguyy/badges/

https://line6.com/support/profile/1904183-pianoguyy/badges/

the gear page stopped working for me months ago. I get a continuously spinning circle. Oddly, it is actually loading things - because my data keeps running, until eventually my browser crashes. *Luckily, I am not a TGP user. But when looking things up, it often appears in search results. But within reason - I don't want first time posters coming here peddling their wares. Nor do we want this place to turn into ME ME hell. I actually had to troll someone out of JCF because every post was a new ME ME. Sorry, but some places are for adults to discuss stuff. Take that childish bulllollipop to Facebook where it belongs. *I know that it is spelled meme. But I call it ME ME. Because it is always 'look at me, look at me, me me me me"

there is a "general" section

Stereo. Mono. Sum-to-mono Phase cancellation. The 1/4" outs of the Pod will 'sum to mono' if using only one jack. The XLR are always left or right, it never sums. While the 'sum to mono' is nice, I don't like using it. You may run into a situation where patches sound dreadful because of phase cancellation. And, since it is mono, you lose any stereo aspects of your tone. Knowing this is important because should someone later use the XLR (or a 2nd 1/4"), you might run into a situation where you have to 'start over' with tone building because that beautiful tone you spent so much time building now sounds horrible. One solution is to use a dummy plug in the other 1/4" jack. This prevents the 'sum', and allows you to hear left (or right) as it was intended. So, as I look at your amp. And I see an XLR and two 1/4" inputs, these are things to consider. I'd hate for you to use one 1/4" and one XLR, because you'd actually be getting two lefts and only one right. (a left and right from the sum, and a left from the XLR) *worth noting: if you are using the Pod for your microphone and guitar at the same time, then sometimes you need the device to sum-to-mono. Otherwise you would only hear guitar, not the mic.

the correct answer has already been given. However, I always suggest people use studio/direct, especially if using global settings or will be using different methods of amplification on a regular basis. Also, most acoustic/keyboard/microphone amps are rather 'transparent', which makes them more closely related to something you'd use studio/direct for. Meaning, they don't colour the tone the same way an electric amp (such as Marshall or Fender) would. But, what I am curious about (because I have no experience with this brand): What happens when you use the aux input of that amp. That, to me, would certainly be something to use studio/direct for, and that jack might just be your best option for good tone from the Pod.

You are free to do what you want to do. But you won't find anyone promoting these units as attenuators.

Before every show, I put my patches in the order that they will be used for the night. It makes it much easier to switch patches. *I use the HD units, not the HX.

A Kemper will actually record a tone, and then allows you to play it back. That is what Kemper does. That is what they are designed to do. Therefore, their tone repository is a little bit better in terms of "I uploaded a tone for Song X" - because you know it is an accurate (within reason) recording of Song X. But Line 6 isn't in the recording/playback business. And that forces me to twist knobs to create a tone (much the same as I would physical amps). So, there does come some 'interpretation' involved when creating a tone.

@Tonymf You've asked most of these questions already. Are you not listening to us when we answer?

And a $20 set of computer speakers.

a 212 depends on the rest of the unit... sometimes a 212 is just 1 212. other times it can be 2 112. but, yes, a helix (i don't know about all of them) can run multiple instruments through multiple sound systems at the same time.

$1700 for bedroom volume seems a bit like overkill. But the real question: Why a guitar amp? You are running a modeler. Why not go for some kind of FRFR type of deal.

Well, rule number 1. You will get lost. Think about it - if you went out and bought 60 different amps and 100 different pedals... and someone said "you have an hour to get good tone". You would be overwhelmed. Not to mention being able to break the laws of physics, like being able to put a distortion pedal after the microphone that is sending your amp to the pa. Rule 2. In order to not get lost, start with what you know. Meaning, look at your physical rig. If you don't have a 'tron up', there's no reason to add it virtually. Beyond that... Unlike a tube amp that gets better with volume, listen to a CD (for this example, do not use vinyl because it adds other variables). It doesn't really change when played through your headphones or a cheap stereo or a good stereo. Yes, there are minute differences with each (there better be with a price range of $20-10,000), but for the most part they are the same. That's exactly what you get with good modelers. You get that pre-recorded CD sound that stays the same at any volume. Of course, I like to have it at a volume where you can hear the nuances of your tone (I loathe YouTube videos where I can hear the unplugged electric playing). It does take time to adjust to the situation. Same room air push tone, of 2 full Marshall stacks that someone than mics and plays through a set of speakers (the pa) that you can't hear from the stage. Vs you hearing that big huge sound of 2 Marshall amps being mic'd and played through the pa... though a set of headphones or tiny little speakers that you can talk over. That part is a 'human' issue. It can be odd to be on a stage dancing around and making the guitar faces when there is no noise to inspire you. But that is where professionalism comes in. This is a job. You have people to work for. You need to do stuff for them to get paid. It is really no different than breaking up with your girlfriend, and needing to be on stage in an hour singing the song you wrote for her about eternal love.