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  1. Finally, my pioneering scientific work is recognized.
  2. Just wondering if anybody knows stuff I don't about the amps and cabs on which Line 6 custom models were based. Some of them have been made available (L6 Insane on a mega-juiced Rectifier, L6 Boutique on a clean Dumble, etc.); I have a few of my own suspicions, which I'd be happy to explain (L6 Lunacy on a Boogie Mark IV, Spinal Puppet on a Bogner Fish). How about you guys?
  3. I don't actually have one of these, but I think I know the problem: most Line 6 pedals are turned on and off by a little sensor under the toe side of the pedal, so if you want to turn it all the way off, don't just rock it all the way back, do a full forward toe tap. That ought to disable it.
  4. One more before this thread completely dies: As you may have gathered, I'm a huge Shawn Lane fan, and one of his most unusual sounds was the one he used when playing with Jonas Hellborg and the Vinayakram brothers near the end of his life (if you Youtube "Shawn Lane live in Paris," you'll get tons of footage). It was totally clean, but it had the bite and sustain of a hi-gain tone, and he would also kick in what I believe were very early Line 6 delays to simulate the drones normally heard in Indian music. Here's my take. Note that the settings are all amp-knob style, not o'clock, and that the gear is nothing Shawn ever played (after he got his basic sounds loaded into his Peavey Profex, he didn't seem to care what power amps/speakers/etc. he played through), I just thought it got the tone. Shawn Lane Indian Drone Amp: Tweed B-Man Cab: 4x12 Tread Drive 2.5, Bass 7, Mid 6, Treble 6 Presence: 60% Compressor: threshold -39 dB, 10 dB makeup gain Delay #1: Reverse, 25% mix, 555 ms, 60% feedback Delay #2: Tape Echo, 35% mix, 417 ms, 56% feedback
  5. Yeah, it's plugged in that way, no other USB devices, and it comes up fine in Audacity and Garageband. For some reason, I can only get Cubase to recognize it as a MIDI instrument. I'm not gonna chuck Cubase entirely, but most of what I do recording-wise involves sending single tracks to a producer across the country, and Audacity is perfectly adequate for that (though you have to monitor input with the Spider V's channel volume rather than its master volume – strange; I guess the USB goes straight out of the preamp?). Thanks anyway for the reply, mate.
  6. A bit of frivolity here, but: While editing Spider V patches, I noticed that, to my surprise, the amp setting on the "Welcome to the Jungle" preset wasn't a JCM800 or Plexi, it was the famous L6 Chemical X. That, of course, brought to mind stories the legendary Marshall that everybody loved at S.I.R. Studios in the ’80s, the one that Slash notably tried to steal. It would seem to follow, then, that Chemical X is that 100-watt Marshall Super Tremolo 1959T, modded out by Tim Caswell of S.I.R. and subsequently Studio Electronics. I need to check if tremolo is one of the built-in effects on that patch, which would (kinda?) seal it. Anyway, an OCD sufferer's soliloquy.
  7. How would I arrange for that? When I set up a new Audio track, the Spider V isn't one of the input options – I just get my laptop mic.
  8. Tried this in the Spider forum and got nothing, so I figured I'd take a shot here: My Spider V 60 works great, my Cubase LE 10 installation went fine, and when I try to record direct via the amp's USB output, I can get Cubase to recognize the Spider as a MIDI input, but I can't get it to recognize that there's any signal coming out. The MIDI and audio faders are both dead, no matter how high I turn them up, and the track is definitely armed to record and not muted. Any ideas here? I've done a fair amount of digital recording, but it's almost all been of the mic/live instrument kind, so USB-carried MIDI is new territory for me.
  9. The easiest way to get extra volume is, in my experience, a) making sure you've got the right cab for your amp, and then b) it's still a compressor, but you can use the amp's inline compressor – not anything under the DYN tab, just the one under the AMP menu – set the threshold to 0, and then dial in some postgain. Not perfect, but it works. You could also just bring down those high gain settings and then turn up the master; a lot of 2-volume amps recommend that technique anyway, and the Spiders are pretty goddamn loud, so you shouldn't run out of master volume.
  10. I'd say it's neither especially great nor especially horrible. Comparable to the tuner in, say, a Blackstar ID:Core. If you're really worried about it, maybe I just got lucky with this, but I picked up a Monoprice Stage Right tuner pedal for $20 out of curiosity, basically, and it's the best tuner I've ever owned.
  11. So I've got Cubase downloaded, installed, and running, everything seems fine, and I've gotten it to recognize the Spider V 60 as an input (it's under MIDI, for anyone searching for it under "audio" or "instrument"). Thing is, I can't get either the track monitor or the recording system itself to recognize that any sound is coming out of the amp, even when I max out the faders to an absurd degree – and no, it's definitely not on mute. Any ideas?
  12. Dunno what's on the Helix, but here are all the amps, cabs, and effects on the Spider V:
  13. Thought a bit more about this, and while I still can't tell you anything about the Helix, I'm fairly certain there'll never be a point at which modelers (or non-modeling solid-state transistor amps) "replace" tubes – the question itself is, I think, a sort of misunderstanding. It's like asking a biker if his car has "replaced" his bike. He doesn't ride the bike for the same reasons as he drives, say, a Honda; he likes particular things about the experience of it, and even though they're both theoretically machines designed for automated motion, they serve completely different purposes to him. Thus with tubes/SS/digital. Some people are just always going to think tube amps feel better, and it's true that they're different in ways that modelers haven't learned to copy on a consistent basis. It's my experience, e.g., that even a mediocre tube amp has a relation between touch sensitivity and tone that you just don't get on non-tube stuff. That said, tube amps also break down way more often, have more specialized and antiquated parts, require constant vigilance and frequent servicing, and universally cost too goddamn much Because They're Tuuuuube. I personally wouldn't take a tube amp on the road unless I knew it was an absolute draymule (oh, the backbreaking memories of that borrowed 1973 Peavey Classic 50 which will, I'm almost certain, survive the extinction of humanity and possibly help to cause it). Of the amps I've got, my (solid-state) Fender Champion 100, which has about 17 "voicings" but isn't a digital or a modeler per se, is definitely the one I'd trust on any kind of extended tour. That doesn't make it better or worse than my Blackstar ID:Core 40 or my Spider V or the Marshall Valvestate and 5150 heads sitting in the closet, it just does particular things really well. (Though, let's be honest, it does make it better than the Valvestate. Those things sound terrible. And, to my moderate surprise, I find I much prefer my Spider-tweaked 5150 patch – still wondering what the hell a "Mississippi Criminal" is – to a bona fide block-letter 5150.) I, for one, don't give a damn about amp format, though I'd say that solid-state transistor amps have been the most reliable over my 20ish years of playing. If I like the sound, I like it, and if I can use it to make more and better sounds, brilliant. I think that's why there are so many half-cocked morons complaining about Line 6 gear on boards and Youtube: they don't really know what it's for, so they get angry that it doesn't do what they want. I didn't buy the Spider V for the presets – who buys a modeler for the presets? – I bought it because, after 2 minutes, I realized that 1) it was going to give me a massive library of amps and cabs for my own patches, and b) unlike a Kemper, it was not going to require NASA training to get the most of its programmable features.
  14. Can't help you with the rest, but here's a list of what every amp, cab, and effect is a model of, courtesy Line 6 itself:
  15. (Tip: you want that Led Zeppelin I sound, JP was using a Telecaster, not a Les Paul, and his amp was probably the Supro S-6616, modeled in the Spider V as the Super O. It's naturally very tinny, but give it a lot of gain, mid, and bass, and then send it through either a Screamer, Tube Drive, or Boost+EQ – I believe I used the Screamer – with some real drive on it and a very moderate Tone setting, plug in your Tele if you're luck enough to have one, and bang, early Zep. (I've been meaning to try a similar trick with the legendary Royal Albert Hall show from 1970 to get a Zeppelin II sound: the Plexi Lead 100 with everything dimed and the Boost+EQ will get you there, but he was specifically using that famous DR-103 Hiwatt stack, so I want to try that with a Screamer, since Hiwatts are naturally more snappy and sharp than resonant or sustaining.)
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