AndyParedesMusic

you make want to reflash it again, then perform a pedal calibration. best of luck!

great point. I also didn't pay much attention to the "internal models", but after talking with the sound design personnel I found out there was a treasure trove of cool amps without the "original names" used. For example: the "Chemical X" model is great for Green Day, "chunk chunk" is all Megadeth, and "Throttle" is great for Alice in Chains... and that's about I can say without getting in trouble ;)

Ideascale is a great way to request ideas as Fivebass pointed out. it is also important to remember that sometimes there are limits to any devices internal archetecture that can prohibit what a device can do. For example - in previous POD devices (xt/X3) we could only have one of each effect type, and it was fixed to a specific pedal on/off location. Firehawk has more flexibility in both areas, but may not have enough to allow for multiple reverbs? If that is something you need to have yo may want to look at the HD500X as a possible alternative, but you'll not be able to edit via bluetooth, so it is really about weighing what matters to most for your needs.

4CM is a common method and used by many forum members. Be sure that you completely turn off all amp/cab/mics to avoid additional/unwanted color.

Hi Socal, EQ is different with every guitar as well as monitor and listening area, so there are a lot of variables to consider. I always reccomend cutting what you don't like vs. boosting what you like, to avoid adding noise to your signal. if you have having an overly "sharp" attack, try dropping frequencies in the 3-5k range and see what happens. a little EQ can go a long way, so take it in small chunks and see what happens. best of luck!

any reason you don't want to use the AMPLIFi TT for this application? I haven't seen any requests for this yet, but you can definitely submit this request in Ideascale.

If you are planning to use the FBV (only) to access all the banks you will need the short board, which gives you bank up/down footswitches. If you are using the FBV in conjunction with your smart device you should be able to select the "bank" on the device, then access the A-D presets from the FBV controller - in this case the Express will be fine

lots of great info here, and it really is all "correct" depending on the situation and what the PA can do and what you are playing. I also think the style of music makes a difference, if you have lots of clean/shimmery sounds stereo is great if you can get it (this is how Eric Johnson used to run his clean sound), but if you are playing metal I haven't heard it make it sound better. I tend to play on the heavier side and run mono out via XLR to FOH for many of the reasons already stated. happy huning!

one this I tend to do is turn down the "master" on cleaner amps such as the twin or Vox, some of the defaults have this pretty high so backing off that may help. also using low gain humbuckers or single coils makes a big difference, I tend to have most of my "demo" guitars modded to split the humbucker to single coil whenever I was "pristine clean" Hope this gets you pointed in the right direction!

there are at least two Gilmour presets I can think of without being in front of the unit - run like hell & have a cigar. i believe there is also "another brick Pt 2", complete with switching for the straight to the board comped sound for the rhythm and the mesa combo for leads. head on down to your local dealer, or perhaps another end user can use these presets to give some more sound examples.

going to try to answer a few situations here - hopefully this will make sense for the different situations in this thread: 1: let's make things as simple as possible. remove all external gear (i.e. other amps) and try going XLR into the snake. I tend to put the big volume knob of the Helix fairly high, which can be balanced at the console so it is not clipping but will most likely eliminate some of the "hiss" some have noted. note - I don't reccomend using the inserts, just go direct to the board if at all possible. you can always sett the EQ to flat (or turn it off if your console has that feature) 2: when you are going direct (as described above) you will most likely want to use the amp block (preamp/power amp) as well as the speaker and mic modeling. this will be the sound you are most familar with. I also reccomend this setup if you are using headphones. 3: if you are needing to use a traditional amp, I reccomend switching to just the "preamp" block, and remove all cab/mic modeling. you usually do not want to "double up" on modeling and traditional speakers/power amps, as this may provide too much color for your liking. hope this helps point you in the right direction!

To take it even a step further - any gear that is being connected should ALL be powered from the same grounded power strip - this will solve 9/10 issues you will commonly run into

the L2 are a great solution, that is what many of the factory presets were written with. Personally I have had great results with just XLR out, which is something we tend do do in beta-writing before all the digital i/o is sorted out. I haven't found a need for global EQ (so far), but the need for EQ will change depending on the vvenue and the volume you are playing at. stereo guitar is always fun, but as many people don't have access to stereo outputs (i.e. single speaker, not enough channels at smaller clubs) I tend to write all the main patches I do in mono, but can be switched to stereo pretty easily after the fact. remember that almost all effects prior to a single amp will be "mono", effects after the amp modeling tend to be better options to listen for stero imaging (i.e. rotitaing speakers, tremolo, delays, etc.)

as Darrell said, I would assume this will be fine. you can put the treble boost in one of the four effect loops and assign it to a footswitch, which you can then put whever you like in the signal chain.

agreed - you can use the variax cable that comes with the instrument to connect to your computer for editing/updating, as well as programing with your VDI-compatible L6 device, but we do reccomend the "DVI cable for performance as it is "locking" and more robust than the cable that comes with the Variax instrument.

agreed - when writing tones I usually tweek the "master" and gain along with EQ to match what I am going for, then just use the channel volume to balance against the other presets I am using. I rarely (if ever) adjust the "master" after that point, but I'll tweek the channel quite a bit depending on other factors

You like the way the FX100 sounds gong to the PA but not the front of the amp, correct? I am wondering if the amp/cab/mic modeling of the FX100 going into the preamp/power amp/speaker of the CLassic 30 is giveing you more "color" than you like, basically doubling up those sections. If you like the way it sounds going to the PA and are OK with trying a different monitoring system you can try is to use a flat response speaker on stage instead of a traditional guitar amp and see if that works for your situation. If you choose to just use the classic 30 (going into the front of the amp) I reccomend turning off the amp/cab/mic modeling so you don't get too much color there. Hope this gives you some more choices to figure out what wil work best for your situation

the overall volume difference isn't much between the L2 & L3 (~4 db according to the documentation), so an L2 may just fit your needs!

for people looking for a more robust solution: the L6 Product Specialsts have two different cases that we are currently using: 1: Pedal Train PT3 - fits/works fine (and has wheels) - downside is that with only the board and HX the case weights ~48 lbs, which can make it tough when you have to drag it around in an airport http://www.amazon.com/Pedaltrain-PT-3-HC-24-Pedalboard-Hard/dp/B0051G3ZNM/ref=sr_1_2?s=musical-instruments&ie=UTF8&qid=1444416066&sr=1-2&keywords=pedaltrain+pt3 2: the SKB i-series "gun" case - much lighter than the PT3, downside is that you have to cut the foam (it is not cubed), so have a sharp cutting tool and take your time. http://www.amazon.com/SKB-3I-3614-6B-L-iSeries-Inches-Layered/dp/B004ZX64DU

drew is spot on - most of the "time based" effects (delay, chorus) will have the option to select between tempo based or traditional measurements (ms or hz). I personally write most presets to be based of the tempo, just in case the drummer is overzealous on a tempo I can just tap the new tempo in and everything sounds correct!

available... now! http://line6.com/support/forum-75/announcement-55-amplifi-remote-20-for-android-is-now-available/

Hello, You can run multiples of the same effect if you want to - just select the effect in the upper left corner to get to the "family (i.e. Mods)", then hit the same button to get to the category. Once you do that you can opt for a different effect family and program. This is helpful when you want to run phaser & chorus (i.e. Earth Wind & FIre, two delay (a la the Edge), etc.

Hello, One item to check before updating the DT firmware: ensure the POD HD unit is set to MIDI channel 1 - otherwise the L6 connection may not work correctly. If you are on MIDI channel 1 then I reccomend reflashing the DT using a supported MIDI/USB Converter. I personally use the MIDISport Uno and have always had great results.

Hi Luis, The amplifi remote app can drop to half speed, but there are no other speeds or pitch changes currently available. Please log into ideascale to submit this request, as I have heard this on a few store visits as well. http://line6.ideascale.com/

Hi All, I wanted to give a little clarification on why you may see some of the same amp models used more that others: Line 6 used to have an online magazine called "Guitarport Online", which had a limited amp model set (~20) and we had A LOT of tones for GPO... which may explain why you are seeing the Soldano and Bassman more than models that would have been included in the "model packs" (i.e. high gain, collector classic, etc.) A lot of people worked on getting the classic guitar sounds redialed for AMPLIFi prior to release, and while there were close to 7000 tones when AMPLIFi was released there is still a lot of work to be done and the community can help with this. Here are a few pointers for people looking to add to the tone library: Research It is helpful to know as much as you can about the guitarist and rig used prior to authoring a tone. Information such as guitar (and pickups), pedal(s), amp(s), cabinets (size and speaker type), and microphone(s) used will get you close before needing to adjust anything. Research Resources I use: www.guitargeek.com - an excellent source for accurate information on well-known guitar rigs http://www.soundonsound.com - contains accurate information on well-known recording sessions, sometimes lists the amps/mics used. Artist & fan websites often have detailed data as to what was used in a specific era, such as: Alex Lifeson: http://rush.wikia.com/wiki/Alex_Lifeson_equipment David Gilmour: http://www.gilmourish.com/?page_id=16 Edge delays: http://www.amnesta.net/edge_delay/ Guitar Tone (Mitch Gallegher): a great resource for all things guitar tone-related, including a number of legendary rigs. Analog Man’s Guide to Vintage Effects (Tom Hughes): a great resource for vintage pedal info and finding substitutes when needed. Creating the Tone The instrument: I always try to use a similar instrument/pickup configuration as the original artist on the recording. Initial Setup Recommendations: * Set the guitar output (white volume) on the hardware to 40%, then balance the tone against the song. Enabling the “soundcheck†feature in the iOS settings may help keep output levels similar between songs. Clean amps (Fender-style): Bass at 5, Mid at 6, Treble at 8, Presence at 5, gain at 5. I'll start here and adjust the gain to the level on the recording. Mid-gain amps (Marshall Style): all tone knobs set to 10 and the gain set to 5. I'll start here and adjust the gain to the level on the recording. High-gain amp (Mesa-style): All tone knobs at 7, gain set to 4 (due to the way the EQ interactivity works these amps do not often respond well to controls set at 10). Adjust the gain to the level on the recording. Experiment with mic and the placement (if you cannot find the mic that was used): I usually go through the different mic options and find the option that sounds closest without altering the initial EQ setting, then move the microphone near/far to find the best placement. Once I have the best mic/placement I begin altering the tone knobs in 10% increments to match the recorded tone as closely as possible. Finding a section with only the guitar playing will help determine which controls should be altered. Looping software can be beneficial here, I go from a computer into the 3.5mm jack in the back of the amp so I am hearing the tone through the same source as the audio. Adding Effects: I tend to add in the same effects in the same order as the artist used, substituting as needed - the Analog Man book is a great reference for this. Setting the tap tempo and note values: I usually set the tempo to the song for the time-based effects, which is often easier than setting the hz or ms. Pre vs. Post effects: If an effect is not shown on a player’s pedal board but you can hear it on the recording (i.e. reverb or delay), it was most likely added after the amp and should be placed after the amp modeling. Keep in mind post effects often come out in stereo. Volume pedals: Volume pedals at the beginning of the chain effect the volume and gain level, volume pedals after the amp modeling effect only the overall output level. Setting a noise gate (when working on a mid or high-gain tone): The decay level of “zero†will ensure the gate closes as quickly as possible. I usually set the gate threshold to ensure there is no noise when the guitar volume is turned off. Naming the tone: Using the full/correct name of the song ensures it gets pulled up correctly, completing all the meta-data (song, guitarist, instrument info) helps as well. I tend to use the "auto-fill" feature to avoid key-stroking when possible. Listening: listen to your preset both with the track and without, at low and high volumes. You'll want your preset to work well in all situations. When in doubt, less is more... Finalizing: Come back and listen to your tone another day before publishing. You'll be surprised how fresh ears can provide a fresh perspective. Hope this helps!