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Found 60 results

  1. Hi guys! I'm planning on doing a Variax Acoustic 700 transplant into a Epiphone Wildkat hollow body guitar and will like to hear some feedback on the project, specially regarding the correct compromise of strings and bridge to make the acoustic models work in an electric body while at the same time maintaining the functionality of the analog electric pickups. By the way before someone tells me that it's not worth buying and defiling a Variax 700 Acoustic just for a transplant project, let me clarify that I won't be doing that... I actually think the Variax 700 Acoustic body makes a terrific guitar as is. Me and my wife (who's my bandmate) have one in our rig and believe me when I say we won't parting with it anytime soon (I can't believe Line6 discontinued such a great product)... That being said, the reason I'm doing this project is because I find myself with an extra set of 700 Acoustic guts and electronics that are just siting around doing nothing, so I thought I might just experiment with them a bit before deciding to try and sell them on eBay. So here's the story... A couple of years ago I had an accident with my wife's Variax Acoustic 700... I was loading our gear into the car after a gig and I was about to put the guitar inside (last item) when someone called to me to check on something, so I leaned the guitar against the car and went inside the venue for a moment... As you can probably figure by now, I totally forgot about it so I jumped into the car, started backing up and rolled over the guitar!... The neck was completely destroyed but the body was intact. I sought Line6's help to see if the neck could be replaced as my wife had some custom paint job done to the body and she wanted to save it, but it was too much of a hassle and more expensive that buying a new guitar and painting it again (we had to send the guitar to Line6 because they would not sell a replacement neck to us for a local luthier to make the installation and since we were in Costa Rica at the time it just made no sense economically). So we ended up simply buying a new Variax Acoustic 700 off of eBay (haven't got around to reproducing the custom paint job yet, but I plan on do it soon). Ok so now I have an extra Variax Acoustic 700 body and electronics that work perfectly well. Piezos and guts are intact so I've been toying around with the idea of using them on this transplant project. I have en Epiphone Wildkat ( http://www.epiphone.com/Products/Archtop/Wildkat.aspx ) which I think will be an ideal candidate for this project. This is a very nice sounding guitar and a great player actually, but it is also very cheap and easy to replace in case I mess it up which makes me feel confortable about experimenting with it. The guitar is pretty much a hollow body (does have a small block in the middle to support the bridge but it is definitely not a semihollow: http://www.gretsch-talk.com/media/epi-wildkat-bodyslab.6811/full ) so my luthier agrees it won't take much routing to install the guts inside (and the carving required to place the slider controls on the side of the upper bout is minimal). We also figured that since both guitars are mahogany but the Wildkat has a maple top and neck (versus a basswood neck and cedar top on the Variax) it might actually result in an improvement of the acoustic characteristics of the guitar (don't know if such tonal characteristics might have an effect on the models though... I'm guessing not). Finally even though the Wildkat is hollow and the Variax is solid, the unplugged volume of the two guitars is actually pretty similar (the Variax is amazingly loud for a solid body), so using the alt tunings on the Wildkat won't be more distracting than it is already on the Variax. Ok so far so good then... Now comes the dilema questions: (1) how do I adapt to an archt. body the Variax bridge that is obviously made for a flat top acoustic body, (2) what type of strings should I use to find a good balance between what the acoustic models need versus and what the electric pickups require. On regards to the first one (bridge) I feel like I don't wanna mess around much with the piezo saddles so I don't feel comfortable with trying to transplant them into a tune-o-matic bridge like I've seen other people more capable modders do to try and maintain the original look of the guitar on Variax transplants into Les Paul guitars. I'd rather just use the Variax's bridge as is. I don't mind altering the look of the bridge on the Wildkat but I do care about functionality and the dilema here is that it doesn't seems like the Variax Acoustic bridge can be raised to the height of a tune-o-matic as it is (which seems neccesary to get to the right angle for the bigsby to work well). The wood base piece will have to be modded or shimmed somehow so I was thinking that maybe going for a Gretsch type arch base would work to sit the Variax bridge and saddles on top of it (Variax bridge will obviously need to be trimmed anyway for the strings to be able to reach the bigsby)... Any thoughts? On regards to the strings, I don't think the Variax phosphor bronze electro acoustic strings will work for the electric analog pickups, so I'll need to use some type of electric guitar strings that are as close as possible to those so that the acoustic models don't suffer. Fortunately gauge and action is not gonna be a problem because I actually use the Wildkat for a lot of heavy chording, slide playing and even some jazz, so it is already set with a somewhat medium to high action and the same gauge as the Variax Acoustic: 0.12 - 0.54 with a wound G string (I'm using Ernie Ball Medium Light Nickel Wound strings: https://www.ernieball.com/guitar-strings/electric-guitar-strings/nickel-wound-custom-gauge-electric-guitar-strings#P02206)... My first impulse is to think that those strings should actually work fine for the Variax acoustic models because playability feels pretty similar between the Variax and the Wildkat as is (obviously the phosphor bronze strings feel more "acoustic" but we're talking modelling here so I'm guessing that as long as the gauge is the same piezos should function in a similar manner so it shouldn't affect the models significantly)... Still maybe there's a better option you can recommend?... Only thing I might add is that on a personal preference note, I like roundwounds strings and I feel like on this project where we're talking about using the Wildkat as an acoustic alternative it might bring it closer to home... But if someone can think of a reason why flatwounds or halfwounds will work better, then by all means I'll appreciate the recommendation. So there you go guys, I'll appreciate your thoughts... Sorry for the long post but it is a fun project so I wanted to be as detailed as possible on the line of though I'm following... This is probably the only scenario I can imagine where doing a Variax 700 Acoustic transplant will make any sense because as I said at the beginning, those are terrific guitars in my opinion so gutting a perfectly good one to transplant it into an electric (where there's obviously going to be some compromise) would be a real waste... And putting them into a real acoustic, well that'll be just ludicrous (ok maybe it might work on one of those old Fender Stratacoustic bodies, but then again the Variax Acoustic body is always a way better guitar than that one). Cheers!
  2. I've been using an HD500 for a long time, and it's upgrade time. I play electric violin, and MIDI-controlled Whammy 5 is an integral part of my rig. I have a Molten Voltage Osmosis, which selects presets, sets Whammy pedal position, and also calls up presets on my Source Audio EQ. From what I've been reading, I will probably have to keep at least the Whammy, and probably the Osmosis, as well. Right now, I'm looking to set up the Helix rack in an 8u rack, with drawer-mounted pedals, and probably a rack EQ. I like having access to a hardware EQ at all times. My first question: Can the Helix floor/rack floorboard send more than one MIDI command at a time? Three to five commands would be nice. If I could leave the Osmosis at home, I might be convinced to get the floor processor instead of the rack version. Second question: Can the floorboards be set up with completely customized layouts? For example: Top row: bank up, preset 1, preset 2, preset 3, looper, snapshot 1 Bottom row: bank down, MIDI command 1, MIDI command 2, MIDI command 3, snapshot 2, tap/tuner Third question: Can a 3rd party controller(FCB1010, HD500, etc) be set up to access presets, snapshots, send MIDI PC/CC, tempo? I'm not concerned with changing preset parameters during performance. If the presets and snapshots are all MIDI accessible, then I will be able to do just about everything I want. Fourth question: Are there any internal LFO, like the Fractal processors have? Last question: Is the input impedance seriously topped out at 1 Megohm? I have a good preamp, but I never had to use it with the HD500. Not a huge deal, but I was really surprised at that.
  3. I've been working on my Helix acoustic patch, using one of the ubiquitous Taylor IRs, and this is the best I've gotten so far. I'm really curious to hear other people's best tones, for purposes of knowing how good it can sound and learning how to improve my own. This is an Eastman Grand Auditorium (similar to a Taylor, with a rather poor-sounding Fishman undersaddle piezo). I rolled off some highs and reduced the output on the guitar itself. Helix chain is: Graphic EQ, Taylor U87 IR, Parametric EQ, Deluxe Comp, Delay, Plate Reverb. I played a simple G, C, D strumming thing, with a little single note run at the end. This should be easy to duplicate. I'm mostly interested in optimizing the strumming sound, which I find to be the Achilles heel of most guitar pickup systems. If you have done some work on this type of patch and would like to share your sound in a clip, or have suggestions for how you get your best sound, please share! Thanks. https://soundcloud.com/billlorentzen/acoustic-patch-helix-u87-eastman
  4. I have the following setup: Fender Deluxe Strat (USA) Martin D28 acoustic with Fishman Acoustic Matrix Natural II under-saddle pickup Fender Deluxe Reverb combo amp Morley ABC switcher SP compressor pedal Fullton Fulldrive 3 Overdrive pedal L R Baggs Para DI Acoustic preamp Line6 Relay G30 wireless system Using the Relay G30 feeding into the Morley switcher, I can route the Strat into either of the Deluxe Reverb’s channels – with or without the FX units - with no problems. However, when I change to the Martin, using the switcher to route it through the Baggs unit to the amp’s Vibrato channel, significant high-frequency interference occurs, which fluctuates as I move the guitar and wireless transmitter around. Using a cable from the Martin to the Baggs unit (i.e. no wireless), this does not occur. Either the Fishman or the Baggs unit is disagreeing with the wireless transmitter. All advice/suggestions gratefully received.
  5. I just got a JTV69 and probably for the same reasons as man others - so I can go to a gig with only 1 guitar. No more capo, no more 2nd guitar, no more separate rig for acoustic guitar... sounds like Nirvana (not the band :-)). Anyway I was checking out the acoustic sounds today and I was not really impressed. I was playing through a pretty high quality "Tech21 Paradriver DI" preamp into my powermixer (as I would with a real acoustic) but the sounds were not realistic. Sometimes sounded more like listening to a synthesizer than a guitar. Any advice? Please don't say I need to get a Pod HD and DT25 just for good acoustic sounds, I have a wonderful tube amp that I love already for my electric sounds. I have been compromising on the songs where I wanted to play acoustic, by playing very clean electric with some chorus etc. but I was hoping to get a realistic acoustic sound out of the JTV... one big reason for buying it. Next gig in 11 days! Thanks Pat
  6. Are there any really good acoustic IR's that work with single coils? Free or not, I don't care.
  7. Hi all, I've just upgraded from Amplifi 150 to FH1500 so I'm not too sure about the input/outputs yet. One reason I upgraded was that I could play both electric and acoustic through the amp. I'm not the sound man in the band and the one that is isn't too happy about line6 but I am. Question; can I plug both electric and acoustic in at the same time? I have an Acoustic with XLR out and a Variax Standard connected with a Line6 G10 so which inputs would I use. That might sound a bit basic, but it would really help if anyone could help. Line 6, user manuals would really help. Stew
  8. This week i am posting a couple of IR's of an Acoustic Sim designed for humbucker or single coil pickups. It seemed all of the other available acoustic IR's didn't work well with my electric mag pickups. I set these first few up for some settings that I liked with my Les Paul (HB) and Strat (SC), but there are more settings on the sim if you guys like them. I will probably do more later with the different settings, but would like to test these live and maybe get a little feedback from you guys too first. Link to Acoustic Sim IR's https://www.dropbox.com/sh/v0rxzmv514uzdez/AADWNQmQi55ZVt9ShDCLGeULa?dl=0 Link to main IR folder https://www.dropbox.com/sh/lstuzn05tdpin9v/AADjdknZwdrze5VqaO7whHroa?dl=0
  9. Hi, i may be a little late to the Variax party but I was finally convinced by the tuning capabilities to dive in and pick up a well looked after Accoustic 700. I know these are obsolete products now and i've had a bit of a blow off from Line 6 saying that I can send it across the country to be looked at and maybe it could be fixed... Anywho, My acoustic did not work straight out of the packaging and I thought I'd been dudded by the seller. I checked it out through the 1/4 inch battery powered option and I got nada... no LEDs and no sound. I then checked it via the RJ45 port through my xt live... surprise surprise it came to life. i gave it a good work out and it didn't miss a beat. Went back to the battery and nothing... I measured the voltage to the board, changed batteries and thought that that power cct must be knackered... Left for a business trip and returned a week later, thought I'd give it one more crack and it has now come to life! except that it sounds like a dying battery, all crackly on strong plucking. This isn't there through the VDI. I don't run two supplies concurrently after reading about it on here. What I am looking for is any service tips, schematics on this instrument in order to make sure i get a decent life out of this unit. i stumbled on a few threads from the archives which relates to power but hte links are all broken and hard to search. Is there anyone here that still dabbles with my model instrument? I'm capable with schematics and with an iron if necessary.
  10. I always wanted one and now I see not only have they been discontinued and are very difficult to find? Was there a problem with the model? Were they just not successful? I played one once about ten years ago... It seemed like a nice guitar... Anyone have one they want to get rid of?
  11. This is more or less a feature request, but if you folks ever decide to update the JTV models again, it would be wonderful to have a Nylon string acoustic in there. (e.g. Spanish guitar or Django Rheinhardt). I myself would gladly give up the acoustic-3 "Parlor guitar" for something with a little more flavor. I'm sure others would disagree, so I'm not sure about replacing existing models, but it seems like a nylon string model could be done, and it would open a huge creative world. There's nothing but steel string models now. Let me know if that's possible. Thank you.
  12. I created the following Template as a routing scheme that devotes up to the maximum DSP power(both DSP processors) and 24 blocks to the electric guitar while leaving 8 blocks available for a second separate input and output such as acoustic guitar, mic, iPod, etc.. I use this for presets where Path 1 alone does not have enough DSP for my electric guitar patch but I also require a second input/output. This routing scheme gives me up to all the available DSP (both DSP processors) for the electric but also allows me to have a separate input/output for my acoustic guitar, mic, iPod, etc.. This Template sets up the first pair of input & output blocks from the Guitar input to the XLR output, and the second pair of input & output blocks from the Aux input to the 1/4 output but you can modify these to whatever you require. You can download my Template from the L6 CustomTone library here: http://line6.com/customtone/tone/1460280/
  13. Can anyone elaborate on the Guitar Input Impedance setting on the Global Settings page? Under Global Settings, Ins/Outs, Guitar Impedance, I've got it set to Auto. Does anyone know what this setting detects and how? I'm running a Sunrise Magnetic pickup and a LR Baggs iBeam transducer, both running into a LR Baggs iMix internal preamp, in my acoustic guitar. I'm using a stereo Y-cable, running the Sunrise into the guitar input and the iBeam into the Aux input of the Helix. I know the Sunrise pickup has an output of 2.0K - 2.2K Ohm output. I'm not sure what the output is when running through the iMix preamp...searched online, can't find any specs on the iMix. Thanks! Bill
  14. I tried to provide some background as to why I am using this routing scheme but if you prefer not to read about my opinion on DSP limitations and want to get directly to how to get the max processing power available for the electric in a "hybrid" preset please feel free to skip right down to the "Method for using more DSP intensive electric guitar patch and also setting up acoustic guitar or Mic patch within the same preset:" You can also download the Template from the Line6 CustomTone library for this preset at http://line6.com/customtone/tone/1460280/ . Well, I just hit my first DSP limited issue. I know DSP limitations are currently an issue on every manufacturers equipment be it Boss, Axe, Line6 or whoever, but man are they a drag! The DSP limitations force you to pick mono where maybe you wanted stereo, not use certain effects, and not be able to utilize all of the slots available in the routing paths. I look forward to a time when we look back at DSP issues as an obsolete and ridiculous hardware problem. It just seems inane to get a "Not enough DSP" message or have effects grayed out. In essence the system is telling you, "I don't have powerful enough or adequate hardware to allow the full potential of the operating system"; despite the fact that the Helix is using state of the art hardware. Either that or even worse, other manufacturer's multi-effect units will limit you as to which effects you can double up on or use such that you never see the "Out of DSP" message even though the DSP is maxed. I am not picking on Line6 as this is a limitation on all current hardware platforms available. Line6 definitely made the best choice regarding DSP limitations, opting for maximum flexibility for the user instead of hiding the message by limiting what you can do. I can only get about 12 out of the 16 available blocks on a single Serial path (Path 1) loaded up. After block number 12 the Helix tells me there is not enough DSP to load block 13. Your results may vary depending on what you are trying to load up. I realize certain effects, stereo effects, and amp-cab blocks use more DSP but I am loading mono versions of whatever I can. Has anyone tried to load up 16 blocks on Path 1? I think you will find that depending on which effects you choose, even in mono, you will be challenged to be able to actually use all 16 blocks without getting an 'out of DSP' message or seeing an all gray screen when you try to add another effect. Yes, you can get more processing power and available blocks when you add Path 2 for a "Super Serial" setup but I was hoping to use Path 2 solely for my acoustic guitar or a microphone. And of course, even if you run in Super Serial you probably won't be able to use even close to all 32 blocks (not that I can ever see needing that many for one input/patch). I like having both guitars set up in one preset as I have found that when I have a separate preset for the acoustic guitar, when I am switching guitars during a gig, every once in a while I forget to either switch to the patch for the acoustic or forget to switch back when I go back to the electric. Of course, having a separate preset(s) for the acoustic is a perfectly acceptable solution as well and should get you around any DSP limitations. However if you are trying to use an electric guitar and a Mic in the same patch this routing scheme may be your best option. Method for using more DSP intensive electric guitar patch and also setting up acoustic guitar or Mic patch within the same preset: The following is a routing scheme that devotes up to the maximum DSP power and 24 blocks to the electric guitar while leaving 8 blocks available for a second input such as acoustic guitar or mic. I use this for presets where Path 1 alone does not have enough DSP for my electric guitar patch. This routing scheme gives me all the available DSP for the electric but also allows me to have a separate path for my acoustic or a mic : You can download the Template from the Line6 CustomTone library for this preset at http://line6.com/customtone/tone/1460280/ Note: You can use the Line6 Super Serial x2 template as a starting place for this routing scheme. Make sure you turn the 1A Output block's "Level" all the way down per the manual's instructions for "Super Serial". You will also have to drag down the split and merge blocks on the 2A path to get the separate route for your mic or acoustic. I also set the split blocks on Path 1 & Path 2 to "A/B" split and sent 100% of the signal to the B path. I ended up using a Super Serial x2 setup (Path1 routed to Path2) where the first three "bars" of the paths are used for my electric and the last bar is used for my acoustic. There is a method (drag down the split and merge blocks in Path2) when using Super Serial that allows you to separate out the last path "bar" such that you can route the acoustic or a mic into, for example, the Aux or "Mic In" input, and send it to a different output than the one you are using for your electric. In other words you can route the first three bars (24 blocks) of a Super Serial output for electric and use the last bar (8 blocks) with a separate input and output for your acoustic guitar or a microphone. This is what I am doing and it allows me to pick up and play either my electric or my acoustic without changing the preset. You probably won't use all 24 blocks for your electric patch but bridging from Path1 to Path2 will give you enough DSP to run more complex DSP combinations for the electric. I set up a Template for this routing scheme. I am thinking that ideally rather than each Path (Path 1 & Path 2) being allotted exactly half the DSP processing power on the Helix, that it would be much better if each path was dynamically allotted as much of the total combined power of the 2 DSPs as it required; limited obviously by the total power of the two DSP chips on the Helix. That way if you require more DSP for Path1 than Path2 you would not potentially be forced to use a Super Serial route. This would allow for much more flexible path setups. It would be really helpful to have a screen showing how much DSP each block uses so I could do a more effective job of balancing and figure out where the DSP "hogs" are I am wondering if there optimizations to the code that will allow the amps and effects to use less DSP without losing resolution or sound quality? If so, are these part of the future firmware revision plans?
  15. Want to connect my electric guitar with passive pickups to "guitar" input and connect acoustic with L. R. Baggs Lyric pickup to another input so that I can use Helix as A/B depending on which preset I choose. Problem is I can't seem to get enough input signal to Helix from my acoustic. Pickup, battery and cables are all good. I've tried all inputs. Do I need an external preamp or DI to do this? Helix is out to L2t via Link 6.
  16. I have a HD500x. Just brought home a Variax Acoustic 700 Natural. It appears you cannot use workbench with this combination. Workbench version 1.75 - No support for HD500X It doesn't look like anyone cares about fixing this because they've brought out the wonderful: Workbench HD - No Support for Variax Acoustic Am I missing something or is this combo just not gonna work. It seems Workbench 1.75 came out 3 years ago so I'm guessing it's safe to assume there's no upgrade in the works. Seems a waste...love Line 6 but can't keep up with buying the very latest of each piece of gear just to be sure they're compatible. Fortunately haven't had to pay for this Variax Acoustic yet and not likely I will keep it as I haven't really managed to find the right sound yet and was really hoping the workbench might help me with that.
  17. I have finally come tweaked an HD500 patch for JTV model Acoustic-5 through my L2m that I am happy with for live band use. It was set up and saved with HD500 connected to my L2m in ACOUSTIC GUITAR mode via L6 link. FS4 is set to toggle on/off tube compressor for solo boost if needed. It reduces the boomy resonance with the L2m when playing an acoustic model at volume and also reduces the harsh high-mid treble allowing the more subtle acoustic qualities to come through at volume in a live band setting. I have added it to CUSTOMTONE so please feel free to download it and try it out. http://line6.com/customtone/profile/edstar1960 Background info: I have a JTV59 with fw 2.1 and it is strung with Fender 150R's - and they are 10's. I have made some slight global string adjustments and model string level adjustments under Workbench HD. I hope that this patch will be useful - even if it needs to be tweaked some more for your own setup.
  18. I just got off the phone with Line6 support who confirmed my dilemma. Here’s my situation: Solo acoustic artist Want to record every show Have an M20d, L3t, & L3m Love the L3t acoustic modeling Haven’t been able to recreate the same tone/body with M20d DSP effects/presets If I plug guitar into L3t and take its Mix Out back to the M20d, it competes with L6 Link (feedback loop) Bottom line, if I want to use M20d (which I do for recording, vocals FX, setup/scene recalls, etc), I can’t use L3t's acoustic modeling So… Has anyone found the right M20d DSP chain and dialed in the best combo of FX presets to emulate L3t’s acoustic modeling? If so, can you please share the chain & each block’s settings? I will also post this feature request as an idea for their next firmware update here -> http://line6.ideascale.com/
  19. Can anyone give me some pointers on how to get the best sound out of my JTV-59? After watching more videos showing off the sound, I'm convinced something is not right, maybe its the Amplifi amp I'm using (which means I can't use the VDI cable, WHAT???), or is it the 20 year old 1/4" that I play through, or is it just me...I cannot get mine to sound anything like the sounds in this video: https://www.youtube.com/watch?v=meqkcELwew0 I'm mostly referring to the acoustic models that sound amazing in the Line6 video - 1:20-2:25 is a great example of the acoustics that I bought this guitar for! There are some cords that when I play I can tell that the modeling is dropping some strings like it can't process all 6 at once. The 12 strings are the worst by far, in the video you can hear some pretty harsh strumming tones as he plays, I have to play mine SUPER light to get 75% of the sound that he is getting in the acoustic models, and my latency is terrible on top of that. My intent is not to bash on this guitar, I love it, or at least I'm trying real hard to keep loving it. And to be fair, most of the NON-Acoustic models seem totally fine to me. I am desperately hoping that someone can give me some pointers on places I can look to get a better sound, something doesn't seem right to me. FYI, my serial number dates my "NEW" JTV-59 as a November 2012 build if that's any clue as well. Thanks!
  20. The Pod X3 is still a great interface for recording... This a solo acoustic arrangement of James by Pat Metheny and Lyle Mays: https://www.youtube.com/watch?v=FcGmAwIbTZI I had a little fun with the panning of a couple of chromatic lines in the song. Let me know if you like it or if you found it distracting... Thanks! Bruce
  21. Hello, Has anyone already setup the DT25 to sound correctly with the Acoustic sounds of the Variax, through a POD HD500 ? Simple question though complicated to get it working coorectly for me. I own L2M's & L3M's but they are used by the band for the overall set, therefore, I am eager to get this set working with my Amp only. Easier to carry also during rehearsals... Thanks for the help, Alain
  22. I am seriously ready to pull the trigger on a high end combo for my acoustic guitars and vocals in a duo setup. I am comparing the Shertler Jam 150, a very high end acoustic guitar combo amp to the L2T. I would love any feedback from anyone who has owned the Shertler and gone to the L2T or vice versa. I do want excellent sound, very studio quality as I gig professionally and need the best for my audiences. I have tried all other guitar combo amps and though there are some good ones, there are no great ones except for the Shertler line. Thanks very much
  23. Hi friends ! I'm not sure, right forum i shoos or not, but want to ask about using Line6 PODHD 400 with Acoustic Guitar. I have used it with electric guitar and all ok, but for my acoustic guitar i have LR Baggs M1A pickup (with small battery inside) and i afraid to inject it in my POD400. May be this damage input scheme of PODHD 400 ? Someone have tests LR Baggs pickups with PODHD 400 ? This is LR Baggs M1A: Thanks for help
  24. New to the Dream Rig setup, but so far love it. Found a cool way to get a direct out of the Pod HD and have a mic'd DT amp sent to the FOH via one line without any extra summing pre's, mixers, etc. Check it out. Routing Acoustic Output with Variax, POD HD500, and DT Amps There's also another option, if you're wanting to bypass the DT for acoustic presets and only run 1 line to your FOH while still using your mic'd DT.. 1.) Assign input 1 source to Variax, and assign audio output 1(left) to your DT50. 2.) Make sure your mixer is hard panned left and right in all patches you intend to use. 3.) Assign input 2 to your mic input. 4.) For electric patches, only use the top signal path for guitar effects, amps, etc. 5.) Run your mic line from your mic'd amp to the HD500 mic input, and adjust the input gain accordingly 6.) Run an XLR from the right output of your POD HD to your stage snake or mixer. 7.) If necessary, you can add EQ, Compression and other effects to the lower signal path to alter the mic'd amp's signal. 8.) For acoustic patches, route the variax to input 2, and only use the lower signal path. This does add a hint more latency for electric patches since you're processing the signal twice, but it's fairly neglegable and allows you more versatility to altering and saving your sound.
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