aleclee

I use a MONO bag that was sized for a Pedaltrain 1.

It's one of the few devices that could seriously damage a Tele in a collision. ;)

Here's a pic from my mod of a spring-loaded Mission EP-1. I thought it might be useful in case the pix above aren't sufficiently clear about which lug on the pot is hooked up to which part of the jack: Red wire is Tip Green Wire is Ring Black wire is Sleeve You could also put a jumper between the Green/Black lugs and only connect the sleeve if you have a TS jack.

i'm one of the folks on TGP who made the squirrel observation. I find it to be a relative non-issue now. I still hear some things I don't much care for in the Vox models but it's now as squirrel-free as any modeler I've owned (AxeFx, Amplifire being the most recent). I dunno. I heard squirrels just as much in IRs as stock cabs unless they had a steep high cut baked into the IR. While I have accumulated a pretty big IR collection, I still start with the stock cabs and only go to IRs when I can't find a stock cab that does the trick.

Any particular reason you can't got with the usual Channel 7 for dry guitar?

While they don't appear to have published output impedance specs anywhere, I'd be very surprised if it was "high impedance". I'd hazard a guess that it's probably around the 700Ω value that you once posted for the M13. While that value might be higher than on the XLRs, it should've have an issue driving a cable run of any "reasonable" length. Relative to running XLR, I think the greater concern would be noise rejection than signal degradation. But that's just my opinion: I could be wrong.

My main project is originals so I try to get each song's tones just so. :P In my cover band, it's definitely a ballpark effort. in fact, I tend to use 3-4 snapshots on a single preset for at least 3/4 of our stuff. if I played in a tribute band, it would be a different story.

I'd just use the Helix as my input interface and the Presonus for the outputs. in fact, aside from having a Mackie Big Knob as my output interface, that's exactly what I do for recording. I do run analog outputs on my HX to the Mackie but only for zero latency monitoring. Everything being record goes in via Helix/USB.

Too bad it's two audio channels from the guitar and one back channel vs the other way around. In that case, it could also do stereo IEM + guitar wireless.

Depends on the UPS. Some output a square wave which is effectively adding line noise.

Multimeters are cheap and useful for all sorts of electronic troubleshooting.

Record mono from 7.

Low voltage situation?

I have an IdeaScale submission that might help: https://line6.ideascale.com/a/idea-v2/903037

IME, there are two factors that cause a guitar tone to get lost in the mix:1. Lack of transients 2. Lack of mids When dialing things in at home, there's a tendency to use more gain to provide greater sustain at low volume. The problem is that while this does compress the signal, it totally kills your transients. What I've learned to do instead is dial in the gain to get the amount of crunch/ saturation I want and then throw a compressor in front of the amp block or distortion block to get the desired dynamics. The reason that works is because compressors allow you to set the degree to which transients pass via the attack parameter. Setting it between 10-30ms will keep things punchy and allow for more sustain.