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  1. I'm now suspecting the XT Live entered manual mode by a guitarist pressing one of the preset selection pedals A,B,C,D and holding for two seconds. It's hard to imagine he hasn't pressed one of those again to get out of manual mode, by now. Maybe some canned air on the switches. The manual doesn't seem to mention the method for leaving manual mode. I'm going to have to take the unit home and make sure it isn't displaying error messages upon start-up. These Pods came out around 2004 so can't expect much more out of it.
  2. I think you two may have revealed the "issue." The music leader at our church seems to notice a difference in volume --- mainly in my case since I'm using a different patch for each song. So hearing a patch with distortion, followed by one without, he's thinking the second one is set too low. It can be a challenge when on the one hand, there is a desire to hear electric guitar parts as they were on the recording, but on the other hand no recognition of the fact that this will involve a wide variety of drive/delay settings AND... take a couple of seconds to switch patches. So my educational effort must continue --- THIS IS NOT A PIANO :-)
  3. Thanks. By parametric, you're referring to a standard parametric EQ effect that can be inserted into a patch, correct?
  4. I think the Global EQ default low-pass frequency is 8 Khz ( attenuation on frequencies above that. ) Now that I'm using new in-ear monitors with 4 drivers per ear, I"m hearing more finger slide noise on my strat. I suspect this isn't an issue in the PA mains and only in my ears so maybe it wouldn't be a good idea to adjust the low-pass lower. ?? Fret/string lube already sprayed on. KZ ZS5 in ears
  5. I've tried both a phone app that measures decibels and using Audacity to get several patches evened out so the sound board is getting a similar volume level over several patches --- still not there. Audacity's "monitoring" function shows a needle moving around as you play, with a red line where the most recent peak was. I'd like to find a way to get more precise about this.
  6. Turned the same XT Live on this morning and the same patch came up. Pressing the delay stomp did nothing, light didn't go out. Using the editing and tweak effect knobs didn't do anything either as far as being able to lower the delay mix to zero. I finally accomplished it using LIne 6 edit. Not sure if I'm doing something wrong or the knobs on this POD just aren't working anymore.
  7. I'm guessing this is because the guitarist had pressed the edit button or something, trying to turn down the delay values? Normally pressing the delay stomp pedal twice should get me into "edit" mode, correct? This guitarist just doesn't like delay. He's using the Line 6 clean patch.
  8. Yes, I have an unopened cable just like the one linked above. I'll try it for a while.
  9. Life expectancy for JTV VDI Jack? My JTV59 is about a year old and used very carefully. The after-market cable I use is also cared for and I've never jerked on it or abused it, but lately I notice an occasional volume drop out where I have to push the cable into the guitar slightly to re-establish connection. The connections are all clean so just wondering how long one can expect such connections to last with two hours of use per week? My aftermarket cable: https://www.amazon.com/gp/product/B000JLMXSC/ref=oh_aui_search_detailpage?ie=UTF8&psc=1
  10. Of course the other problem with any volume change is that in our situation, the player has only a rough idea what the change will do in front of house ( PA ). If the sound tech doesn't know what you're going to do and when, he may just pull you back down, and leave it that way. I can see that setting the expression pedal to go from 80 to 100 could be the same as kicking on a drive or boost effect, with the same risk that the tech may defeat you. Either way it would need to be a specific change, not a variable one. I suppose you could gauge from your in-ears volume change what you're doing in the house ( we don't have ambient mics so can't hear the room unless we pull one ear bud out. This whole thing also applies to the patch-switch approach to getting a solo boost.
  11. Kinglerch, I like that idea, especially #2. I'm going to have to practice with the pod on the floor since now I normally have it up on a table next to my laptop for quick HDedit work. The result is that I'm horrible at using the expression pedal. I think I'm doing something wrong like not putting any weight on the "heel" of the pedal at all. This leaves me feeling like I'm standing on one foot and unsteady at getting precise pedal movements.
  12. I'll definitely give this a try but for now I'm most interested in something like Patch A ( rhythm ) AC30 fairly clean with delay/reverb Patch B: ( drive ) Brit2204 very crunchy ( possibly going from strat to LP in the patch change ) I've explored the OD/dirt effects in the POD and found 2 or 3 most useful to me ( screamer, Tube drive, line 6 OD ), but this offers the possibility of a whole new palette.
  13. When clicking on an overdrive ahead of the amps, my goal usually is to drop out of the mix entirely during the last measure before the solo anyway -- in other words the drop out might be a good thing in my case, preventing the accidental boost in rhythm chords just prior to the solo. I could see this being bad in a 3-piece combo where you''d create a big sonic hole for a few seconds, but not usually an issue in the larger band and I play with. I'm very happy with the POD but had been considering an outboard drive pedal since I sometimes just can't quite get the sound I want with built-in effects --- this opens up a whole new realm of possibilities. Amp-switching isn't an option available to many non-pod amateur rigs due to the cost, weight and complexity.
  14. As I thought about how to get a different tone without adding external OD pedals, I remembered reading how people crank up or turn down the amp master volume depending on what kind of breakup they're after. What has your experience been with that and the choice of an effect ahead of the amp (s) -- e.g. choose a vetta juice instead of a screamer?
  15. Where I play there are no ambient mics feeding room or stage sound to people's in-ear mixes. Leaving one ear bud out isn't usually recommended as people tend to turn it up and risk hearing damage. I've thought about upgrading my in-ear monitors to the type that have ambient ports or mics built-in. Other than that I'd be looking and somehow adding my own small ambient mic to mix room sound with my in-ear mix. Since the pod has so many inputs and outputs, I was wondering if it could play a roll in this. We have some small headphone distribution boxes on stage for each musician, which I presume have xlr input from the mixer to stage snake, along with some EQ controls and 1/4 inch jacks for headphone/IEM distribution. I'm still trying to argue for room/ambient mics that would to go the mixer, and could be added to IEM mixes, but even if I win that argument, we wouldn't want to introduce delay which can happen with such mics and throw off your timing.
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