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About jerseyboy

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  1. Tip my hat to Line6 for LH versions back in the beginning but I understand why little old L6 would drop that option during JTV era. But kinda surprised Yamaha hasn’t committed to LH Variax guitars. I guess it’s a business and large corporations usually know what they’re doing in regard to bottom line. I know at least 4qty Variax have been sold...
  2. What continent (country) do you reside? What's the nature of electronics failure? No sound output? Sounds not right? What $$$ you seeking? I'm looking for salvageable Variax electronics to perform Dobro/Lap transplant. Bridge and piezo don't really matter using Ghost loaded tun-o-matic.
  3. I’ve conducted some experiments with string type/condition and all the above does influence modeling tones. One of my favorites for something unique and different is to use flat wounds D’Adarrio Chromes on electric Variax. Simply buy medium set 13-56, toss out the 56 add a 10 string’er up. Works out to 10-45 IIRC? Sticking close to OEM gauge seems to be fairly important. Possibly more so than string type. Broken in, flat wounds reduced plinks, finger noises and other artifacts playing at high preamp gain settings. But of course the wound strings sounded like flat wounds too. Weird but kinda cool in many situations. Acoustic models take on a funky D-18 with decade old strings tone/texture under the Dread model. Reminded me of Norman Blake flat picking tone. Currently using Elixir 10-46 but I prefer the thicker poly wrap as opposed to the thinner coatings for Variax. Splitting hairs but they seem to be somewhat quieter in regard to finger noise.
  4. Glad I poked my head in here. That’s mad skill scientist stuff and then some! Impressive and sure to be a sweetheart when finished. What did you source for connector contacts, JST? I work with similar contacts and crimp tools from li-ion battery BMS kludging.
  5. Haven't used Monkey in years. Is it still a thing? What purpose does it serve? WBHD seems to handle FW updates now.
  6. All monitoring being equal I’m more fond of Gen 1 acoustic models although JTV is acceptable. Gen 1 Jumbo has just always worked particularly well for live & studio gigs. Perhaps I’m more accustomed to a decade of playing Gen 1 acoustic models but tweak and tweak they’re never quite as warm and natural to my ear.
  7. For some of us stock 59 hum buckers offer some “great” qualities. Perhaps play around with reasonable height adjustment and stick with 1/4” output out of the gate. At least during rig/pedalboard setup phase. Nearly all electric guitars - I tend to use bright amp settings and simply dial back treble (ice picks) with guitar tone controls. I've always worked with amps that way and I tend to find satisfying spank, sparkle and pizazz using decently wound pickups. But some folks prefer different pickups for their jam so ultimately something to figure out on your own.
  8. If models work most likely a wiring/switching issue which requires qualified care/repair. Have you perhaps changed type/brand of strings when this happened? I recently had a bizarre loss of magnetic pickup signal. Fortunately only 1 string affected. Traced down to some weird Chinese metal alloy string which didn’t possess magnetic properties. Alloy strings can make a tremendous difference when it comes to magnetic qualities. https://line6.com/support/topic/49648-help- no-high-e-string-using-magnetic-pickups- models-fine- /?tab=comments#comment-307654 Good luck….
  9. Sorry if this link is uncool but I'm dying to know more about this on a historic level - https://www.ebay.com/itm/Line-6-James-Tyler-Variax-RH-Made-In-Korea-Sunburst-Electric-Guitar/293163625069?hash=item4441e9ea6d:g:jWoAAOSw99ddQeIB Never mind the sucker who reads and believes "works perfectly" (referring to the mag pickup I suppose?) However the logic bay appears to be nil....
  10. $4k JTV's will be American made. Korean built JTV's street price north of $1k, often much less for GOOD used specimens. I play both Gen 1's (500, 700) and Gen 2 JTV. Each version has their own +/- depending on what you're comparing. No sensible reason trying to make a silk purse from Sow's ear. If you can hand deliver to factory service folks I'd do it in a heartbeat. Since it's working okay on XPS probably ain't nothing terminally wrong.
  11. I don’t know the Katana amp but an experienced guess is their ACOUSTIC setting is probably voiced for under saddle acoustic guitar sensors/pickups. Fishman, Takamine, Ovation, LR Baggs, etc. Probably won’t sound very good with an acoustic Variax model though. Too bad Line6 never got the wisdom of modeling industry accepted acoustic pickup sounds. Models of a plugged in Tak or Ovation would’ve been a useful thing for those of us stuck with only electric amp on many gigs. The prime criteria for Variax acoustic amplification or recording work imho is to use similar stuff as we do for vocals. Essentially a microphone on instrument but without all the feedback. My Helix presets for acoustic amount to very little in the chain. Definitely no amps or speaker models. Comp, verb, EQ, maybe delay/chorus, that’s about it. For conventional amp backlines one of the most important tools for my Variax gig box is the old XPS power supply A/B XLR output box. 1/4” sent to electric guitar stage amp while the XLR goes to a full range monitor and FOH.
  12. It's also commonly confused on the Variax message board. People post questions for 1st Gen in the Variax Standard forum all the time. I'm with brother codamedia - 1st Gen, 2nd Gen, hopefully more gens...
  13. Really depends on the gigs but I tend to sort things along the lines of stage sound, PA sound and instrument related. Instrument related varies wildly depending on instruments played but includes: strings, winder/cutter, neck relief tools, nail clippers/files, flat & finger picks, capos, slides, steels, clamp-on tuner, pencil, flashlight, small screwdrivers, straps. Even lube oil, applicator and of course the bender bar for HipShot bender setups. Stage sound is what’s needed to connect instruments into whatever stage amplification we’ll be using but lotsa 1/4-1/4 cables and any volume pedal, A/B boxes. I enjoy Fishman Loudbox amps for stage monitoring and in many cases handling DI output. Don’t normally carry much to connect PA sound to FOH as most those gigs have mic cables and crew scurrying around. But if small house PA we’re operating it’s always good to have XLR cable and various adapters, inserts, etc. If you take the leap as myself and others going full range amp modeling you’ll be kinda SOL if Helix LT (or any modeler) dies or becomes damaged during transit. For this reason I always carry a Zoom MS50 multi pedal. Never forced to use it in place of Helix LT but did an impromptu bar gig with it past year driving a LoudBox and it was more than satisfying club amp sound imo. In the unlikely event Helix died I’d be glad to have "something" small yet powerful.
  14. Working guys take things slowly and deliberately. 1000's of paying guests plus dozens of talent/crew shouldn't be Guinea Pigs. Hobbyists can experience unexpected changes without much actual damage to the proceedings.
  15. At the risk of offending my good friends at Line6 - another cool IR device = Audio Sprockets Tone Dexter. It works IR magic with user created WAV maps of individual instruments. I created Tone Dexter IR's of all my acoustic guitars and now I can play my easy-action Taylor yet spit out the salty old high-action Martin. Recently did a music store workshop and we mapped a nice Martin with Fishman under saddle pickup using AKG C1000s microphone. Then we grabbed $150 Recording King brand with very similar under saddle pickup. Tone Dexter was happy to spit out the WAV mapped tone of the Martin - eyes in the room got very big. Very impressive and possibilities are endless. Festival guys learning they can bring the sound of their expensive boutique instruments into harsh conditions using a much cheaper workhorse axe.
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