spaceatl

So what do you guys mean "G string doesn't tune properly"? ...sharp, flat...not tracking proper...what's the deal guys? :unsure:

I have a Peterson Strobe and I find my HD Desktop tuner is just fine...Almost as precise which seems to be an improvement over the XT....Line 6 tuners have always been fine for me for shows, but I set intonation with the Peterson...a strobe is just easier to read... ....strings go flat as they lose energy...A mistake a some players make is tuning using a very soft attack and long sustain...That is a great way to end sharp all night and not sharp in a good way...Tune the attack. Another misstep some players make is paying or allow someone else to set their intonation...Intonation is not a general thing and how it needs to be set has more to do with the players touch than ANYTHING else. Unless you have your own tech that know exactly how sharp you pull around the 8th fret on the g string etc..., they will never find the magic compensation point and likely the guitar overall will never be in tune for the player...probably perfect for the tech... :ph34r: Not saying you don't have a problem...just I have never had any trouble with any Line 6 tuner and I have quite a few of them and have compared them to a lot of things...sorry about the rant...

You might try going through the topography combinations on the working NFLs....Class A, AB, Pentode Triode....If all the combinations work on NFL1,2 and 4....then I tend to think that would eliminate tubes as a culprit...I do think that you should contact Line 6 directly by telephone and inform them about this...That just doesn't seem like things went like they should have...

wassup fellas...+1 geppert...AVR...Never run gear without it...That lack of hum is just one of those isolation benefits of putting a tranny on your input power...

I have no doubt a Kemper sounds and feels great...I would love to have one. I also have no doubt that an HD is going to be extremely frustrating when an XT tweaking approach is taken. I tried that...I complained at a time I really could not talk about it. Shortly after that it became very clear to me that the tonestacks on the amp models in HD actually work...They actually are very powerful and seem true to what I remember of the real amps I have used that are in there...XT tonestacks have a very narrow range where they are effective without becoming cartoon tone...Even still, outboard EQ was a must in those days as were tube buffers and additional outboard FX...But some folks seem to forget how much "Harmonic Convergence" help was needed for that hardware...I find HD needs very little additional help as XT did...But then my tweaking approach on HD is completely different from XT... XT generation sounds good. It just never felt right to me at all on its own...decent feel, just nothing worth writing home about...The only way I could ever get my XT hardware close was too use a lot of outboard gear and a good bit of correction EQ...

Maybe. Once upon a time, some cats would post every now and then that their FBV shortboard would lightup, but not do anything, or do really weird things...Keep in mind these were MK1 shortboards, but the design is still very similar. What I am less sure about are the ribbon cables in the MK2...I have never taken my MK2 apart...But I have taken my MK1 apart a couple of times. Anyway, if things are somewhat similar it might worth popping the bottom off to see if a ribbon is loose. I remember several specific cases with MK1s where reseating a ribbon brought everything back...Anyway, just a thought...good luck.

Plexi needs a tube screamer to push it...just like a real one...Might be a little gain difference between HD400 and the amp...I have not noticed and I use that model a lot...Is you firmware all up to date? IOW: Do you have the Soldano models in your HD400?

+1 Jim....I would suggest using right angle connectors to keep things tight and wire only as long as needed.

+1 Most of the time an AB<->A switch can cause a little pop. What I have found is that it is most prevalent when running the master low. With the little bit I know about power class it makes sense to me when going from AB to A. In a nutshell, class A means that the power section is running at full tilt all the time regardless of the master volume setting. Classic class A designs have no master volume as this is the nature of the operating class. Class B is a very efficient operating class where the power section ramps up and down based on the signal. This makes a lot more use of the discharge caps. Class AB is a mixed mode. How much B component there is basically depends on how loud you are running the amplifier. So when I think about the power section going from AB to A, in my mind's eye I see this caps discharging when the class switches... Anyhoo, I am not trying make any excuses here, just that the power swing from AB to A is huge and the variance based on the master volume level could make it very hard to predict. But I have had better luck reducing it when the master is running a little higher...basically where the AB mode is running a bit more A than B if that makes any sense...