Palico

He will need to meter it. I assume he will be going into a DAW to record it? Request and exact DB level you are expecting. Lower levels can be better sometimes. For line level make sure it doesn't go over 0 db. A compressor or limiter as bjnette mentioned as safety net can make sure it doesn't go over 0 db. Personally I would have it recorded a lower level like -6 to -18 db as long as that is plauseable to get decent signal you can always use a tool in a DAW to turn it up more. Once it clips and distorts on the original capture you can't undo that.

^ + 1 this is what I would want. Except #3 for me is a must, or at least them be disabled so I they would either intergrate or at least not mess me up. I don't care about multiple DTs. The tube poweramp section and solid solution to get the DT amp sound to the PA (I could live with micing the amp if I had to) are the strength of the DT in live situations. I've never heard a FRFR solution live that didn't sound sterile, heard a Helix recorded and live with FRFR, the recorded tones where great, the live ones were bland IMO. Not trying to knock anyone that likes the FRFR setup, just not my flavor. I was pretty much ready to go back analog and forget modelling until the DT came out. Live on my HD500x: I use one amp model per patch. Couple of the effects models. L6 link into the DT25. DT DI out to the PA. I know I could get a Helix and do Midi but that;s more setup/more cables etc... more things to mess up or go wrong or things I have to worry about besides playing guitar. So while some of Helix upgrades from the HD are inviting. Not enough to move without the basic DT integration or good DT replacement for Helix. Of course at the price point of Helix itself if a DT replacement gets the same price increase from HD to Helix, I would seriously have to weight that vs. just going back analog as the bang for the buck in modelling might be lost.

Might have to play with this one a bit. Nice tones.

The DT is outstanding amp for Electric tones and you can pull off some acoustic tones on it (although not that great but plausible). So for you situation the FRFR makes the most sense. However; just for those reading in the future, the DT series does have excellent direct out on it. So you can take the DT to your FOH without a mic and still get the DT electric tones.

The "Pre" are the Pre amp modeling without the power amp modelling. They are designed to be used with the Line 6 DT series of amps as DT amp provides a configurable tube power amp section to complete the "model". That being said, you can certainly use the "Pre" models without a DT. If you like the tone you are getting then go for it. There are no hard and fast rules, only what sounds good to your ears and makes you happy. The treadplate is model of the Mesa Boogie Dual rectifier. Being these were released in 1991, I'm not sure they will get exact 80 metal tone. Metallica has used a Mesa Boogie amps though. The JCM 800 model(s) are good 80s tone amps. The key to them is put a distortion pedal (model) in front of the 800 as it doesn't really provide that much gain. My favorite is the Marshall Super lead model with a overdrive in front of it with the output dimed out and the drive set to taste. I find this to very good classic rock to classic metal tone, although the overdrive in the POD I find a bit dark so I have to make up for with EQ. The treadplate model is a great tone as well although a bit more modern sounding. I'm also fond of the Engle model and the Solonado models (really each one of them is pretty cool in it's own write) to be quite good too. If you have the metal expansion the Peavey 5150 model is usable although a bit fizzy.

I'm the only guitarist my group as well. I prefer it this way. As already mentioned the delay and verb can add to a bigger sound. If you are running a amp or FRFR speaker then make sure you have line out going to the PA. As the only guitarist you need to spread the sound out. A lot depends on the style of music you will be playing. For my purposes I take the opposite approach. I don't attempt to fill it out at all. What I attempt to do is really focus on the highlights and fill overs and let the bass and drums carry the rhythm. When the vocals are going I'll pull back and play a bit of the chords to support the vocals, but they usually are not big chords. Often using smaller voicing of them so that when I leave to play a fill or lead it doesn't feel the bottom dropped out. When you go for solos this is where you bassist and drummer will need to take up some slack for not having another guitar. You don't want them to get louder, as already stated that doesn't help, what they need to do is get a bit busier on the groove. If you playing original songs then you can do some work with the arrangements to make it fit as well. Or sometimes does the song even need a solo? Even with covers unless the solo is iconic and a key part of the song you might be to skip it. Then you can just play mostly rhythm for the song. I would ask your band to explain exactly what "filling sound gaps" means to them. To some that might mean they want big guitar chords to fill out he center of the sound and not really but looking for you play lead or very little. If that's the case then setup the POD with some of the suggestions above. Going direct to the PA with one amp model hard left and a different one hard right (assuming the PA is setup Stereo) can be very effective. The other possible means is they want some to fill in the gaps between vocal lines or slower spots in the material. If that's the case then your focus is heavily on fills and leads, don't bother playing much rhythm at all. That scenario can become as much about what you don't play as much what you do play. The reasoning is because when your not playing much, when you do come in, it can make big impact, or make those tasty little fills really standout and take the song somewhere.

Nice never look for it but gonna tonight when I get home. Always thought that was annoying even thought I used tap tempo but I don't like the light.

Billbee pretty much nailed it. Start with your tone, without playing. You should hear some static/60 cycle hum/etc... if you don't hear any of that, then you don't need a gate. Set the knobs to the left Adjust the open just to the point you don't hear this noise anymore. Now play a note and make sure it opens fast enough. Usually if you adjust just to point the static/noise is no longer heard it will open for even soft note. Now play a note and dial up the close until it cuts off the note. Now dial it back a bit until you get the all note sustain you want before it closes. As Billbee pointed out the hold and decay gives you the capability to tailor the gate a bit more to your liking on how fast the gate shuts and if you want to hold open for a bit after opening. Usually I dial these up just a bit so it doesn't slam shut and hold open a for just a bit if hit a single note.

I'm sure the AES/BEU is better cable for this purpose. However the link above actually list a standard XLR cable. If the impedance matching is off, I like the way it's off on my DT25. " What kind of cable does L6 LINK use?L6 LINK works with a standard XLR cable. Because the quality and manufacturing processes of XLR cables vary widely, we can’t guarantee the performance of any particular XLR cable. However, if you are looking for a cable to use with L6 LINK, we recommend the Classic Series Microphone Cable (25 ft.) from Planet Waves, which was among the best we tested."

Your supposed to use a special version of XLR cable, someone can pipe in with that (AES something or another). But I just use a high quality standard XLR cable on it with not problems.

Overdrive (Drive 2 to 5, Output 8 to 10) > Plexi (Bass way down, Treble and Presence up a lot, mid to taste) > T75 cab. Like the Tube Drive and TS for some things but seem stuck with above in most cases. Also like the Angel for shred.

I haven't but if you do pull the trigger let me know how it goes. I would love to have one on it too.

Ahh. You learned a very valuable lesson that doesn't just apply to digital units but any guitar amp. If you turn the volume down before it hits the amp, the guitar tone cleans up a lot. If you notice the volume drop as you roll down the knob is not that great either until you get down it a bit. This is a very common technique for Lead vs. Rhythm playing in the old days of one channel amps and even still used a lot today. Set your tone and level for lead and then just roll back the volume knob on the guitar itself of Rhythm playing. It drops volume just a bit and cleans up a lot. Then when you go for lead, just dime it out and roll back when you are done.

I think I understand what you asking here. You want maximum distortion at a lower volume. Okay your master on Tech 21 or the master on POD control overall volume, so take volume out of the equation. How do you get distortion. So you have a two types of distortion, pre-amp gain and power amp (often called tube distortion). For post amp distortion on old tube amp the only way to obtain that was to turn the amp up to 11. In the POD look under the DEP setting for the "Master", turn it all the way and then physical "Master" knob on the unit back. These two are not the same thing. Now for PreAmp which I think is likely for the bedroom guy the more commonly used one, since turning a non-digital amp to 11 is not possible in most situations. First there is the "Drive" on the modelled amps. On real amps this might be labeled, "Gain", "Pre" or even "Drive". Turn it up to get more Distortion. Turn the "Channel" Volume down to bring the volume level back a bit. Need more? Put a gain pedal FX in front of the amp. Personally some of my favorites are light gain like overdrives with the "gain" turned down the "Output" turned way up. The idea is to hit the pre amp of amp with a lot of level driving it into Distortion. Of course there flat out "Distortion" FX on the unit and modelled amps such as the "Angel F-Ball" which have huge amount of distortion all on their own too. Too much and your sound can turn to mud. Hope all this helps some, maybe sparks and idea you tinker with to get what you are looking for.

Many years ago there was no digital, there was no Piezos. If you were to write a idea of guitar that could model other guitars man would said you lost your mind. It's a wish for a better solution in the future. No I don't know what that solution would be or how it would work, if I did I would be in development to profit from it. But for now that is my wish list, even it doesn't seem possible today.

Wish list: No piezos (no ping) Alt Tunings that worked fully with any technique (again back to No Piezos) No I have no idea how this could be done, it's a wish list not a practical plan.

For just playing around, practicing. Go for it. It will require a bit of a light touch with the slide to pull it off. But that will make it easier for you when you get another guitar setup properly for it later.

Yep it can, I've done it before. Although it's not exactly ideal but that's not a problem on the modelling. Playing slide is much easier on guitar setup for it. High action and heavier strings, especially on high b and e strings. But can certainly be done.

Wow, dude played outstanding! Funny they made them tape over those Marshall logos too.

I had originally done this but years back with a the Pod XT line. But I had sold all my gear off because of being low on $$$ at the time and needing a decent auto. So when I recovered and got back to playing guitar again, the bang for the buck of the POD systems was too much not to go for.

Excellent post. I have the 89F and have pretty much decided the pinging can be tamed but not eliminated. I'm not going to change my strings to fix either. I'll just continue to do what I do today, which is not to use it. I've discovered as you, the strings you use and tuning (real tuning) makes a large difference on how guitars perform on the digital side. If not for the JTV just being a overall great guitar, I would ditch it. Maybe I see an Ibanez in my future.

Well I started with a Variax 500. The reason I purchased it was because I at the time I played with a church worship group. I was already using a POD X3, I had a POD XT before it. The reason I when with the POD was because it was a lot cheaper and easier to have all those pedals in a single box. The bang for the buck was too great. Once I had X3 Live, the Variax seemed like a natural extension of that. And when I had the opportunity to buy a early Variax 500 used, I jumped on the possibility of having more tones in one instrument. Playing the music I was at the time, going acousitic tones to electric ones was very useful. To boot, my Variax 500 played really really well once I got a setup done it too. Plus I still had my Old Les Paul if I didn't like it. I ended up playing the Variax more than the LP. Fast forward a ways and I'm not playing P&W music but back with a band playing secular music out again. My FRFR tube/speaker box died and I moved to the DT25 amp as I never really like the FRFR setup that much anyway. Wasn't long before I wanted to move up to the POD HD500x as it intergrated over the L6 link the DT25 and sounded better than the X3 unit. Finally I ordered my JTV 89f because of the "F" portion of it. I had been playing songs that really needed the tremolo and dive bombs etc.... but just getting by without one. My JTV I acutally think the modeling is not as good as my old Variax 500. Althought part of it might be because it has pickups and I can switch to them and really hear the difference. Today the only reason I keep my JTV 89f is because it really is an outstanding guitar all on it's own without the modelling. And the only Floyd system, I can do alternate tuning without switching guitars. Today I split show time with the JTV 89F and a Gibson 50s P90 Reissue.

If you no longer have any buzzing then psarkissian was correct on it being just neck adjustment, you should be good to go.

I think I get what he is saying. Taller frets if you have heavy hand can go slightly sharp when press down. This likely is be by design as the 89f is designed like some "I" guitars, setup for speed. Less pressing down to make a clean note can be faster, and most have taller frets. Truss rods need adjustment from time to time. Just tell him to adjust the thing, don't know why he even mentioned that to you, it's an standard part of a setup. I would ask about the "wavieness" in the neck, should like a word for "warped" to me, which is should not be and is not repairable. If it's wrapped you need a new neck and if under warranty I would like return. Now I'm not saying that what he means but I would for sure ask more about that. Although if you just notice fret buzz on some frets, it's likely due to a uneven frets. In that case it needs to be level and recrowned as cruisn descibed above. My 89f had 2 high frets right out the box, something I really would not expect with a guitar this $$$ but the guitar itself was worth the extra cost to get that corrected and isn't that uncommon.

I suspect it will. Pretty sure the cab out is tapped at a point the master volume knob affects it.