mileskb

So I'm just a bit curious... Been checking out my new JTV-89F and notice the pickup selector positions and wondered why they didn't wire the humbuckers to better mimic single coil pickup placement one would find on guitars with single coil pickups. I did a mockup in photoshop of what I mean. Has anyone here just flipped the pickups to achieve this? It would seem we could get a better single coil on the neck or bridge position this way. I could also see just flipping the neck pickup as a lot of the signature single-coil tones are from the neck pickup yet most single coils on the bridge are an an angle to really they start out a little further away from the bridge and get closer as you move up the scale. Anyway... thoughts of flipping the pickups? Pros and cons ? Am I missing something?

Yeah, I guess my expectations are high. I've only purchased 3 other "new" guitars in the past 15 years and two were custom shop guitars so they came out of their cases playing themselves... I just needed to grab on and go for the ride. The most recent was a an Ovation Adamas, they are gone over by several people at the factory before they leave. Never really thought about it, but another vote for "used" guitars is if they were indeed "used" by someone, than they are probably at least playable. At least that's been my experience. I rarely get a used guitar that isn't playable. May have other issues, usually that's why I'm buying it... but almost always playable. In any case... A plus for the JTV-89F, is that it's pretty easy to setup. Ended about 3/8's turn on the Truss rod, and about 1.5 turns down on the bridge height screws and no buzz or dead notes and nice action up and down the neck. The verdict on the 5-position is still out as I still had to mess with it today, blew more cleaner into it and cleared up... We'll see if that lasts.. It doesn't feel mechanically faulty.. I may just take it off and soak it in cleaner and blow it out real well. That's probably what it really needs :(

Figured out the update, just needed to plug in a 1/4" jack.

Hi, I was going to do a video, but in the long run I'm glad I didn't cause after a lot of wow, nice, cool, neat.. there was WTF !!!! and Geeez!!! The fit and finish of the guitar itself is great. First impressions (although I have held one before) are things like nice build, nice paint, nice features. I think I may even like the Tremolo as it feels a bit nicer than a standard Floyd Rose and I'm a Kahler guy. It was boxes nicely, the "soft case" is actually pretty nice, not what I expected at all. I like the everything was packed. I'm glad I purchased the Variax cable separately. The little piece of... well nevermind. I'm glad I bought a decent cable. Now for the fun.... not.. So I plugged it in.... Right off the bat, the 5-Way switch is flakey as all get out. I tried spraying some tuner cleaner from the front, and although there was some improvement... I ended up opening up the back. After I got that working, I starting going through the models and noticed the rotary switches were not engaging all the tones either... so with the back off I sprayed tuner cleaner in any switch and worked them well. That "seemed" to clear things up... we'll see. So I got to playing, and noticed it needed a serious setup. No neck relief, bridge too high, etc.. Not sure what the deal is there. Easy enough to fix, but for $1000+ I kinda expect playable out of the box even if not "my" setup. So I installed necessary software and checked out the interface and decided to get the latest firmware update. Ran Monkey and it sees the Variax, asks to update, do I wanna keep patches... (tried both yes and no options) and after a few moments it fails asking to check that I didn't disconnect anything. I thought it might be because I was going through the Helix, but when I just used the USB interface, it recognizes the interface but not the Variax. So that's where that sits. I just like to keep things up to date, and that's not working at the moment. Bottom Line I like the guitar. After waiting many months for the funds to happen, I'm a little disappointed that I have to fuss with it to make it work. Also while the guitar itself feels solid, the Variax controls and 5-way seem... well... cheap. Looking at the parts, they look proprietary, but they sure don't look like they are designed for heavy duty use. It looks like if I have to, I can replace the 5-way, but the other switches don't look like anything I'd be able to upgrade. I'm sure they'll be fine, just expected a little more "precision." If this was a $3000- 4000 guitar, I'd be downright pissed. Well that's all I have for now. I'm excited to have it. Can't wait to create my first custom guitar which will be to imitate my BC Rich Bich 10 string. I wish I didn't have to break out the toolkit on a new guitar to make it playable. If anyone has any thoughts on updating the firmware... I'd appreciate the input.

I would be interested. I think 1K for a VDI wireless is on par with most pro wireless systems today. If I was gigging (and I will be again soon), it would be a must. It would also be great to have one extra audio channel to plug in a headset mic. Now before you role your eyes... it just needs a body pack you can plug a mini-xlr into. I always hated having to wear two body packs.

Thanks specracer986, Been playing since I was kid.. (50+ years) and never could get used to putting a guitar in a softcase. My first guitar was a box bought with S&H greenstamps and even it had a hardboard case.

I just had to tell someone. Well, I told my other half, and she just rolled her eyes. Some of you saw this and rolled your eyes, but I know it was for a different reason :) 1. Anything I should check upon arrival (not the usual stuff, but stuff specific to the guitar) 2. VDI Cable. I ordered the Line 6 cable, but I have seen references to other more robust ones. Unfortunately the links are old, so looking for any recent recommendations. 3. Same with a hard case. Looking for a recent recommendation. Thanks in advance.

Mixed emotions... I JUST moved to 2.20 on Wednesday :(

That might be easier than my idea of getting two people in a room to figure out what's different. But this could work too as we'd end up in the same place.

FWIW I am dead serious about this. It would be one thing if it was just a "works" or "doesn't" works issue, but it isn't. Personally, I love the Helix tuner. It's easier to tune my 10-String on the Helix than the Paterson strobe..

I have been watching these assorted "Tuner" threads since they started. Here are some observations and a plan-ish.. 1. The Tuner is great for some, and not great for others. 2. The extent of great or not great knows no bounds, e.g. some can't use it all, and some won't use anything else and every option in between. 3. Experience and skill do not seem to be a factor on where you fall in the usability scale of item #2 above. Amateur to Pro, newbie or long time player. So MY conclusion... is we need to get at least TWO people into a room. One who hates or at least dislikes the tuner, and one who loves it or at least uses it on a regular basis and let them tune each others guitars and document/observe each other and what works and what doesn't. This is the ONLY way this is going to get resolved.

Just FWIW, not all USB cables are the same, Some, generally the cheaper ones, are wired for "charger" use only, and I have also heard about ones for Data only and don't charge, but I have not personally run across those... the "charge only" ones I have run across all too often...

Nailed It !!!

I think we are thinking the same idea, unless one models MORE than the speaker and amp. However, the only person that really hears more than the speaker and amp, is the musician. Yes another way to look at it.... is... Now that I have a modeler, why would I want to bring a cabinet and set it on a wobbly hollow stage, and have some 20 year old beat up microphone hung on it? Yeah... there would be "in the room sound" but I don't want "that" room as my sound. Not when I can get that "mic'd" sound and just give it to the sound man directly. Good conversation... as someone said... there are many "definitions" of in the room.

"You can only model what you can measure." another great take-away !!! In reality, another way to describe what you are talking about, it creating a room, maybe a 10' x 12' size... have the walls ceiling and floor covered in sensors... somehow "float" as best as possible the speaker cabinet in the center and then create a model at all frequencies based on those sensors. When re-played through an FRFR rig, it should somewhat sound like the "amp in the room" but again... it would just be that room the test was done which really isn't realistic. I'm not sure how many people realize the classic recordings were made in studios chosen for their sound. Record Plant, Sun, Abbey Road, Sound City etc all have a "sound". They color the instrument. If you ever get to Sun studio in Nashville, the original one, you can play a few notes on the piano or guitar or sing a few notes, and you "hear" the sound that's on every recording made there. It's freak'n eerie to be honest. And that is the ONLY place it will sound like that. You can do the same at the Old Ryman Auditorium. I only mention these places because they are accessible. In the Ryman, on "the spot" your instrument or voice takes on a sound that is very distinct. Frankly I think most people who are looking for "amp in the room" would be happy to just hook up a "buttkicker" to their amp system that transfers the lower frequencies to the structure (room) so you actually get that "in the room" amp feel. http://www.thebuttkicker.com/

..... and while I'm at it... that Kemper "Pure Cabinet" function is marketing spew for adjusting early reflections and global eq. They can make all the demos in the world... they still sound like they are coming out of the speakers I am playing them through.

I think that sums this whole topic up !!!! 99% of people who are looking for their "holy grail" sound... have NEVER heard it, from an amp. But wait... I saw SRV live... I know what he sounds like.. BZZZZZZZT! WRONG... NO YOU DON"T... You know what SRV's amp via a MICROPHONE AND CABLES AND SNAKE AND PREAMPS AND SPLITTERS AND MIXER AND PROCESSORS AND AMPS AND PA SPEAKERS sound like, unless you got on stage and sat in front of his amp. Ok... let me back down a notch or two... You just want that really cool full, shake your insides sound you get when you jam on your - insert your favorite amp/speaker here - Well THAT's not going to happen with ANY PA speaker, because guess what... that Fender Twin sound... is not just a speaker. It's a cabinet too. The sound is coming not only from the speaker but it's radiating off the sides of the cab, and through whatever it's sitting on. Same for your mesa cab and your Marshall cab and whatever.. So here's my suggestion... You want "amp in the room sound from the helix".. get an amp and speaker, and put it in a room. The closest you can get with the helix, as example of a Roland JC 120 in a room... is... Set the Helix to JC120 mode but don't use the cabs. Take the line out and run it into effects return of a JC120. It will sound like a JC120 in the room. (sorry... my head was about to explode, I had to let it out).

I'm not sure if this helps, but (I know I sound like a Rockman fanboy) but compression was an integral part of the Rockman sound. I used to do exactly as you... I used my volume to go from clean-ish to crunch, and additionally I used my tone between 70% and 100% to accomplish punch. The key with the Rockman, and I assume the Helix although I haven't tried it... is the 3 band Compressor is the FIRST thing in the chain not the last.

Egggssssactly !!!

Bazinga... I can see where this could be really really useful where you need to tweak a snapshot due to a venue or whatever... but when it's time to go, you want it back to original "saved" version.

I see a lot of people just don't understand the concept of proper tool for proper job FOR YOU!!! We are NOT all the same. Se here's my take on Native... I would use it in my studio. Record guitarists with their amp, but mainly get a dry track so I can find the "perfect" sound, not the one we're stuck with. I don't think my Helix will even hit my studio unless I'm using it. No need. This really opens the doors for a LOT of producers. The real key.. I mean the real price of admission is when it's time to fix or overdub a track... not having to spend waaaaay too much time trying to "recreate" the original tone close enough that no on will notice. Just dial up the same settings and record a dry track. Oh sure... there will still be ever so slight differences, but nothing compared to trying to match a full rig. What about getting a project started in another studio. That other studio had a Dumble, or an AC30... or or or ... I don't have to start calling around the country looking for an amp to rent... just dial it up. Yep... Native is awesome... I'm glad I don't have to pay full price because I own a Helix, but I certainly would pay full price if it was the only option. The $1000's of dollars it would save and my clients in the long run.... even used on just one project.... it would pay for itself.

I am happy to see this direction... While the price point to me is in the "for a few hundred more, you get a Helix"... I see a LOT of potential here especially when they start showing up used or with some sale or discount attached (much like the Helix itself). 1. Right off the bat... a backup. I've posted this since the start. If I was gigging, I think I'd either have a Helix Rack or likely just a 2nd Helix at the ready. This LT unit would make an excellent backup as well. Useful for backing up more than just the Helix if needed too, but not as pricey. 2. A complete re-think... If I spent more time in the studio, and just some time gigging, I might just opt for the Rack in the studio and the LT for gigging. As it is, even the Helix in the studio with the LT for gigging isn't a bad idea. 3. Now I'm not sure how a novice to the Helix family would fair, but I could totally see just using the Helix DAW plugin in the studio, and then just the LT for gigging. The bottom line seems to be if you like the core technology (modeling engine and such) from the Helix family, you can now get whatever size I/O fits your needs. This is really forward thinking. Well done Line 6

It's the key to the high gain/compression sounds of the 80's. I haven't tried it yet, but can't wait. FWIW... 3 band compression is the first effect in the "Boston" sound and was actually built into the Rockman gear. Nicest part of the Rockman XP/XPR gear... unfortunately there was no way to bypass it. but I digress.

I'm just the opposite for the most part. "Refurb" in my experience is more "checked over with a fine tooth comb". Maybe a return, or re-box, just something that prevents it being sold as new. It's like the advantage of "used" (see below) but it's new at a lower price. Also, refurb pretty much guarantees it's been checked over and is 100%, where new items like guitars, they may only be checking 1 in 5 or 1 in 10 out the door. If I can buy used, I do, I prefer refurb, or certified pre-owned, but.... While sometimes it's just nice to have something "new", things like cars and guitars and tools, let someone else work the kinks out, deal with the immediate depreciation and high insurance. Come to think of it, the only new guitars I have were custom made for me, or the latest was one that was used as the sample new model that was at the NAMM and Musikmesse conventions... so technically it's "factory refurbed".

A custom, hand-made guitar is worth EVERY penny. Mine are made by the master Neal Moser. I also believe you should get a custom made pair of boots (Tony Murga) and if you are into that sort of thing a Tux, but those are for a different topic. Seriously, I really have a hard time justifying any "production" made guitar in or above the $3000 mark. I'm sure they are fine instruments, but that's well within custom hand-made territory for which there is no comparison.