Palico

I actually use the single input setting as well. The over amount of gain largely comes from the way I set the patch up to going over L6 link to the DT. Lot of overdrive going into the Plexi. The non-DT patch is just a quick and dirty get me my tone without the DT for practice or recording. Not saying it's be best but I like it.

Yea, sorry I was not real clear on that since I had used % before and POD does use them. I didn't necessarily mean to 4 as it was Marshall just in general in lot amp knobs. Perhaps using with Master full up is more normal to the real Plexi. I originally setup this patch using the Plexi Pre connected to my DT25 amp. I can't crank that amp most of the time, it would be too loud, so not much power amp distortion. So I copied the patch over for when using Headphones, recording etc... With the DEP Master all the way, it distorts too much, turning down the preamp gain changes the tone a bit much for my taste.

I mean about 4 if it was 1-10 scale like most amps are. I set my masters low because that is how I used to using real amps. On real amp unless unless in the studio I never get to turn them up very high.

I love the t-75s cab models. To me they sound big and less muddy than some of the other ones, at least with a Marshall. This is my main patch gains. Overdrive Pedal (drive to taste usually pretty low, output nearly all the way up) -> Marshall Plexi Normal (Drive to taste for me 50 to 75 % up, DEP Master about 4) -> T75 cab with the default mic. My guitar is Variax 89f mainly using the mag pickups, so pretty high output pickups.

I set my patches for live use. Rehearsal with the full band for me is at typically stage volume. For practicing at home, I use a similar but different set of patches for playing over headphones. The up side to having this second set of headphone patches is I can switch over to them and go direct to our PA in the event my DT fails for some reason at a show.

I have similar problems with the looper but I can say it's gets a bit easier with some time on it. In full band situation unless your drummer and band is really really good with timing I don't think it's possible. Mostly I've seen loopers used by solo or duo acts where so that it become much easier to stay in time with yourself. I image if you want to use it in full band situation it would almost be required for the drummer to be listening to click over in-ears so that the timing stays perfect. Personally I never use it on stage but I play with in rehearsals sometimes so I can take a drink over where I play a repetitive rhythm part.

Yep that's the ones.

Put money on a tube, probably red plating. That sounded pretty much like mine did. Okay probably not a good idea, but on mine I just lightly tapped the tube with the back of my finger nail and you could hear my taping almost like it was microphonic. Get a set of EH tubes for it and bias it. Willing to bet the bias is high on the bad tube.

Just a quick test I counted out the sustain on mine last night. About 10 to 11 seconds before the fully died out. Setup was using a clean Plexi normal Pre, T75 cab model with a bit for delay and reverb using the L6 link to my DT25 turned up to about 3 on the master volume. I'm sure the delay added a bit for the time. I will say I had three high frets when I got my 89f right out of the box from sweetwater. I had very good local lutheir level and had recrown the entire fretboard. And of course a full setup. I also have my action higher than most people, personal preference.

http://ultimateclassicrock.com/les-harvey-strange-rock-deaths/ The most famous case. http://ultimateclassicrock.com/keith-richards-electrocuted-during-concert/ Another luckily survived when Keith Richards what hit with a large electric surge due to improper grounding.

+1 This! And it can be deadly if it gets out of hand. The fact you mention someone messing with the wiring before adds up to this as well. Having played in chruches before, despite they way the look, I've often found multiple problems with the setup and wiring. Done by some church member that really is not qualified to save $$$. As Rob mentioned it can be tested with a simple polarity tester and I seriously doubt any power conditioner would catch or correct it. Personally I would refuse to play a show their until they fix this. Again usually the amperage is only a mild shock but in the wrong situation it can be very dangerous.

I'm going to guess that the answer will depend greatly on what you consider good sustain. My 89f performs about like I would expect for sustain. It's not a much as some guitars but is pretty decent. I will often add a compressor on a very light setting on it to get a bit more. I also have modified my floyd quite a bit. Added a Godo Back box. That fixes the bending and double stop issue inhert to all floating Floyd guitars. Added Floyd noiseless springs. Not a huge change but does make it sound a bit more like a hard tail guitar. Running 3 springs. Added Floyd Pro tremolo arm. I have not replaced the block in it.The block is a normal size, looks to brass but does have hole in it. One of the things if you decide to do this will be getting a hole through the block material. The leads of piezos go thought the block. If you decide to take that on please let me know as block replacement on floyd is one of the biggest things you can do to improve the sustain. The tremolo is made by graphtech and I've had a couple of support cases with them getting some things like string blocks where I broke them. They have great support.

Well that depends on what you want, what you do and how much budget you have. The DT25 is great amp two channel amp all on it's own. Pair with the POD HD500x it gives you a lot for capability for lots and lots of tones in traditional guitar amp type of configuration and seamless integration of over the Line 6 link. I don't have a firehawk so I can't really speak to it's capabilities but my understanding is it's more for the bedroom hobbies guitarist to get some good tone up quickly to computer or headphones or pair with any number of amplifiers. Supposedly quick to setup and get tones running. The POD HD500x takes more time to get used to and get the tone you want. But it's an great unit for using on stages. The DT25 is great small gigging stage amp which also has cab simulated output for large stages where you need more output to a PA and of course works well mic'ed if you wanted to do that instead.

Good point the DT25 combo is an open back cab. The DT25 extension cab is closed back. So you get the close back or open back sound depending on which you like better. With the head you could always hook to any cab as well, each will change the tone but you might find one you like better than the DT ones.

If you play a more clean tones and need the headroom get the 50. If you like a bit more breakup and distorted tones get the 25. Smaller wattage breaks up quicker. I've played outside with my DT25, no mic'ed and only had to about 6 to match the Drum and small PA used. It's a loud little amp. If your going into the PA, it don't matter anyway.

Using the Reverb off the amp saves a slot Assigning the Pedal to the channel volume save the slot for the volume pedal. Those two could be used for an extra effect on the POD and both can be done over the Link6 Link. Not using the Pre/amp Model off the POD doesn't open up the POD HD for anything new. It's just set to none. So not using the L6 link for that doesn't save you anything but DSP. The POD HD has only so many slots for effects. It's not like the Helix in that aspect. I'm not trying to argue for the L6 link, just making sure you understand the choices available.

First, I don't believe there is a correct answer for either. What works best for the sound you after works. Try both. I personally leave the cab sims one. The DT is "supposed" to be designed with the cab in mind and using a fairly flat speaker so the simulations work properly. The "Cab" simulated out is just that a "Cab" simulated out so includes something that should be close the speaker in the DT. I use mine that way all the time, and there isn't a big difference in the DI out vs. the Speaker. I do hear a slight be more distorted sound over the PA line but that could be numerous points along the PA that is triggering that and it's not much different. Likely perception on my part because the tone is now coming out out PA system and from many more speakers. All that being said is my preference, the speaker in the DT sound good on it's own as well and can work well too as Elexrion prefers it.

Basically the POD over the L6 link, the Pre-amps in the DT are not being used but are provided by the POD unit (That may not be fully technically correct but it is functionally what it does). This gives you a lot more Pre amps. They are supposed to sound exactly the same using the "Pre" on the POD if you choose the same one that is in the DT. Some claim they do sound a bit different, personally to me the sound the same. So using the POD you get a lot more amp models and all changeable but just selecting the patch on the POD. Also the knobs are integrated over the L6 link. So adjusting say the "Bass" knob manually on the amp changes it in the POD amps settings. Of course you need to save the patch for it to remembered if you changed patches, and the DT doesn't have motorized knobs so they will not necessary be what the patch actually is when changing back and forth. One catch on that is the channel "Reverb" knob is not intergrated to the POD and is it's own reverb so you might want to set it to zero if you using reverb on the POD. That one I've always found a bit odd but strangely useful for a quick change in reverb to suit the room. Plus if you like the reverb on the DT, it could save some DSP on the POD should it be needed. On the "Pre", from my understanding are the Amp minus the Power amp, but do include speaker and mic emulations. Some people have decided to turn off the Cab simulations to just the natural sound of the DT speakers (or their cab if using a different cab). Some people have found using the full amp models sound better to them. Just a matter of taste and what works best for the tone you are after. Channel "A" is used on the DT when using L6 Link. Channel "B" is not used. So you can change to channel "B", manually or using a different foot switch attached to the DT but you have none of the POD (no FX) on that channel if you do, over the L6 link. You can use the 4 cord method with the DT if you want to use the DT as standalone 2 channel amp. You can use a third party tool to select which amp model "Pre" are loaded to the DT but of course that limits you to using pretty much only 2 at once using only foot switch for the amp channel. You could of course use get 4 "Pre" models per channel using the topogoly switch. This can work if you need more DSP for the POD but it's not nearly as automated to patches as using the L6 Link. Really unless you use a lot of DSP I'm not sure why anyone would want to do this way. With exception to those that just hear a difference in the DT running standalone. And of course the DT can be used like any amp with normal pedals. From my experice over the years with amp modelers, I've found it often a lot better to ignore what this model or that model is supposed emulate, and instead just play with it to find that tone you are looking for. This can be time consuming approach but the results are often better and it's kind of fun exercise in tone.

For the Pro bar you have to change out the housing screw in piece as well. It won't fit the stock one but it's easy to change. You do have to take the bridge out enough to access it. Other than that the other change was the springs to noiseless ones which I really like. The sound is not drastically different but in person you can hear it. In the video it's a bit harder to discern. More like a hard tail guitar sound, although not quite fully like one.

If I was doing patches for each song, I would probably do like you have it set already, just mapping multiple effects on/off to a single foot switch. For me I use a patches more generically and don't really attempt to nail a patch for say "Cold Shot" or even "SRV" but just "Blues". So I have bank for "Blues" at a clean, crunch, heavy and lead, One for general "Rock" etc.... But that's all a personal preference thing.

oh and if you want more of clean boost, a compressor usually works well for that with the output a bit higher and not much compression on it.

Yep where you have the drive effect. Even if you have one already it works. Just play with the placement a bit. It will hit the front on the amp model a bit harder and give you a bit more gain as well which is usually appropriate for a lead. On the overdrive/boost I usually set the "drive" fairly low and the "output" higher. So it boost more than distorts but you get some gain and a bit of gain from hitting the front of the amp model harder as well. On mine I keep an entire patch just for leads which has a bit of boost and some amp volume up just a touch as well. I uses my patches like you would scenes in Helix or other modelers. Same amp pedal chain etc... just turning multiples on an off with one switch. It works but volume levels doing that way can be a bit of pain to keep in line.

I would suggest trying a mid boost or a overdrive like the TS that good bit of mids to it. That way you kick up the mids to get the cut, along with some overall volume.

Try the -Pre models if there is one one for it. Don't remember on the AC15 if there was one for it. This is a preamp only (no power amp sim, DT provides real tube power amp stages). You might not like it as much but it's what the -Pre were made for.

+1 to all of the above. I'll add it also depends on the style of the music.