Quote by yuvalmaster
Thank for answering ! My daw is tracktion 5… I got it with my blackjack interface.
What I'm looking for is something that I can also play for practice, take to gigs and for record. Because of that I want to have a multi effect pedalboard included. Bias FX are awesome but I can't change settings and effects with it while playing. So that's why I'm looking into the ax8 the line 6 helix or a tube amp with external pedalboard. What I don't know is if I need with the digitals ax8 and line 6 helix a pre amp and all that stuff, and honestly I don't know nothing about that.


I wasn't actually aware of the footswitch's existence til you brought the point up, but this should actually solve that problem. The switches look like you can adjust them to do whatever you feel like as well
It's a bit difficult for me to say for live purposes, but I've very much become a proponent of the no-amp setup. With that in mind, if you haven't already looked at Bias FX/Amp by Positive Grid, it's absolutely worth a look. Theoretically, there is no reason you couldn't then have a computer/tablet/etc as part of your setup. Another option would be to get the physical Bias Amp, which is designed at modelling anything based on recognition software. Plenty of stuff on YouTube for verification; it's not 100% accurate, but it's pretty close. Without a doubt, someone will have put together a Mark V preset for it already.

Fluff had a pretty good video showcasing it + has more.

To be fair, Fluff also does a lot of post-mixing, so taking that into account, you'll need a DAW if you don't already have one. Given that you have quite a sizable budget and your current PC, ProTools should be fine - Reaper, FL Studio etc are fine too, but PT would be my vote.

You've got the input interface covered, so that's all good.

If you're looking at drums and such as well, Superior Drummer 2.0 is pretty darn good.
I haven't played with one in years, but the Roland Cube 60 is definitely reasonable for the volume ranges and tone ranges you're after. IIRC it has a headphone jack too, so that would solve bedroom issues if need be
So I've had a random band showing up in my Facebook feed a fair bit over the past couple of weeks: Letters From The Fire
Link to the main song they seem to have a full music video for:

I'm not sure it was the band's own promotion or something that was made for the FB ads, but basically it touted itself as "if you like Paramore or Evanescence" etc etc. I've thrown this in the metal subforum just because they sit in a post-grunge sort of space in my mind, but that's almost just semantics really.

My teenage self would definitely have loved them, but I feel almost cynical about them as my mid-20s self.

I have my own initial thoughts/criticisms about them, but I just was a bit curious to see if anyone else reached similar conclusions (purposefully not going into specifics so as not to colour others' initial opinions)

Disclaimer: I'm not aiming to directly promote or ridicule or anything like that. Any inkling of stuff like that is entirely coincidental. I'm just curious about how people react to these kinds of bands nowadays and want to try to keep things as objective as possible (as much as they can be with opinions).

Edit: mods, feel free to move this to the rock subforum if it's more appropriate
The BTB200 is a 4 string, so I'm assuming you'd have meant to say 45-105. In any case, I'm guessing that very broadly speaking though, note definition will tend to improve the thicker you go (everything else being equal), as with guitar? Also, how much does the extra inch on the scale length make a difference with the gauge?

Broadly speaking, I usually EQ a reasonable chunk of the low-low end out, don't do terribly much (but usually mildly up) to the low-mids and bump up mids. The rest is up to what I'm feeling like.

In terms of the "best" thing goes, alrighty, that's fair. I've never really experimented with different string materials for my guitars - I basically tried 2-3 nickel plated brands and then became too superstitious to change, and so I never got to know my way around different materials.

Would you say nickel plated a good middle ground to start with?
Guitarist (10 yearsish)/pianist (too many years) here just expanding my repertoire, so I've picked up a bass and an e-drum set this year.

I'm looking for new string suggestions as well as a gauge to go for. Also, take into account that I'm in Australia, so my options are a little limited. I'd prefer to pay more for the strings than the shipping if I'm buying online. In general, I'm pretty blank on bass strings and if everything that applies for guitar string brands apply for bass.

I picked up a second hand Ibanez BTB200 (35" scale) a few months ago and I've tweaked all the playability issues and buzzing out of it, but I figured it was time to actually get around to replacing the strings since they look and sound like they might have been there for a few years. I don't know what the previous owner had on there, and I haven't played other basses enough to know the difference in feel between gauges.

Anyway, I'm not necessarily after particularly bright strings - I just want something that I can get a bit more note definition out of. Maybe this is something a bit more systemic in my setup and technique, but I figure that a string replacement is pretty inexpensive at this stage and can't hurt anyway.

I mostly play bass for Tool (because Mr Chancellor), thinking more down the Jambi, Vicarious, Schism, the Pot, the Grudge sort of line. I'm starting to branch out a bit more: looking at John Mayer (or rather, his various bassists), Fourplay, the Glitch Mob, Ellie Goudling, Dream Theater - basically there's no actual theme in what I want to play.

I guess if it makes any impact, as kind of a reference point, I tend to have 10-46s on my main guitar, or variations (10-46 + a 62 on my 7 string, 9-46 on my Strat). I wasn't sure if the 35" scale length on the BTB was enough to warrant thinning things down.

I'm very scatterbrained and hopefully this makes sense.
As has been mentioned by others, everything more or less has its time and place.

My "always on"s are my MXR 10 band and Boss DD20 - although I use it as a subtle chorus running it with a single repeat on 7ms. Stuff just sounds bigger without getting too much of that aireyness that I seem to get from actual chorus pedals.

My HM would be my Full Drive 2.
Quote by NakedInTheRain
rockett archer
arc klone

these three are constantly touted as being absatively spot-on.

+1 to the archer in particular. that thing is ridiculous
Oh my god I love you. Thank you thank you thank you for putting a name to what I was trying to find - DAW.

The decision to stop using Mac was mostly based on customisability and gaming standpoints. I've really only cut down my gaming this year, although I still prefer the Windows interface in general. That was probably the only real reason I didn't mention Logic.
I suppose this isn't really a GG&A topic, but I was having trouble working out where to post this under. Mod please move this if you feel another forum is more appropriate?

I've begun picking songwriting back up again recently - I pretty much haven't touched it in about 5 years now. Basically a large part of my songwriting process happens on a computer (Guitar Pro 5 generally) because of playback functions and the ability to layer instruments fairly easily, but because my imagination has somewhat expanded since the last time I was doing this sort of thing, I'm feeling a bit limited by what I have.

Actual "questions" start here:
Essentially I'm looking for software that more or less does everything that Guitar Pro 5 does from an audio playback standpoint - the tablature element of it isn't necessary; it was just a way to input things for my purposes - but provides a good range of synths and synth drums instead of just using the basic MIDI channels, with the ability to quantise everything in some fashion. It also wouldn't hurt to have a bit more of a way to customise guitar and bass tones etc.

I don't necessarily need the ability to record actual guitar tracks as such because I'm using the software as a songwriting tool first and foremost, and also because that's just how my process works. In fact, I would very much prefer if the software can run entirely independent of requiring an instrument for input.

My experience with software like what I'm after is pretty limited. Off the top of my head, Garageband is the only thing I've really used that's in the vein of what I'm thinking of, but that doesn't really say a whole lot. Garageband, for me, ran into significant problems with altering tempos and time signatures throughout a single song, but I haven't used it in a while to know if that was improved. Also, I don't run a Mac anymore. I've only vaguely heard things about Pro Tools and FL, but I had a vague impression that both of these were a little hard to use for simply making music on the computer as opposed to recording something with an instrument or a MIDI controller - maybe I was mistaken.

Any and all help appreciated.

For those at all curious, basically if Dream Theater, the Glitch Mob, Tool, Flume, Ellie Goulding ( ) and Periphery decided to all get together and make this perfect, sublime thing of a lovechild, that's essentially what I'm trying to make.
If you're going a step down, bumping up the gauge by 0.001 on the high E within a string set is generally a good rule to go by, as has been mentioned. It *mostly* keeps the tension about the same.
I don't buy 7 string sets because I like my low B a little heavier (62), but whatever the 11-** equivalent to the 10-59s should do you fine. You might want to tweak it a little with individual strings because of the FR you have though, but that only comes with having tested something out first
I'm not sure about the 30, but the 60 definitely had a headphone out when I was using it.

In either case, the 30 should be fine as long as you don't turn it up past about 3 or so if you want to keep everyone happy. If you can push it a little then 6ish is probably still ok
I run the van halen edition of the phase 90 but it largely is the same for all intents and purposes. I use it pretty much exclusively with buckers and have had no issue with it. If you are that worried about it then the phase 100 might be able to alleviate some of that, but in that case I would just suggest you take a look at the tc electronic equivalent (name of it escapes me at the moment) or perhaps the red witch, I think moon phaser? The tc is in a relatively comparable price range though im not 100% sure about the red witch
Hey guys, I've been out of the loop with a lot of pedals/gear in general for the last 3 years or so, having moved to a different city. Now that I'm going to be moving to somewhere a little more permanent, I've been wanting to get my head around what might have happened with guitar gear over the last 3 years before buying a couple of things I've been after for a while.

So first and foremost, the thing that has caught my eye is the release of the second gen ISP Decimator pedals. I've been searching a little bit for objective (as possible) comparisons about the actual noise reduction element of the pedals with no real luck. They're more or less the same price as their respective predecessors, but I was wondering if there was any tangible difference in the actual reason you would get any of these pedals in the first place.
Having read a couple of reviews, people have either loved the Voodoo Lab Pedal Switcher or hated it due to reliability issues. I was wondering if anyone here has had any experience with it and what they make of it.
If using the Noise Clamp in X-pattern, can you just set the threshold and forget about it even when changing between crunch and clean channels like the G String Decimator?
Bad news. He was just found, drowned, I believe in the river/tubing section of Vang Vieng.

Thanks all.
Hey everyone, a mate of mine for school, Daniel Eimutis, went missing in Laos three days ago - for Australians, this was on 7 news tonight and possibly 9 news; it should be in the Age tomorrow. If you could do your best spreading this around as best you can and perhaps alerting different authorities or media so that the search might be a little easier, it would be much appreciated. If you are in Laos or know anyone in Laos, especially, please spread this around. Also, please forward any info you have to this facebook page:

At the moment the Laos consulate is doing what they can, but there has been limited action from reluctant local police. Daniel's parents are on their way to Laos at the moment.

Thanks for any help you can offer
Quote by greeny23
thats uncalled for..

**** this, make it yourself.

i misread the post, my bad :P
Quote by Eppicurt
Don't listen to him, he's been on the drink

But he makes good things.

Haha I figured as much
As the title suggests, I'm after 3 things and have a tentative list for each; I'm looking for any other suggestions, keeping in mind that they have to be easily accessible in Australia. Sorry for any potential similarities to previous threads I may have made.

First up is the controller - I'm not sure if I'm calling it the right thing here, but basically I just want it effectively give me 3 channels, much like you would expect from an amp footswitch, but does so by managing pedals (eg I have bypass for cleans, one channel for rhythm, one for leads, that kind of thing). I came across the Radial Big Shot EFX Effects Switcher while searching very quickly, and it *seems* like it's exactly what I'm after, but could someone verify that? If not, what else can you suggest that is of a similar price?

Second: metal pedal. I essentially need something that will sound big and American. Mostly looking at Breaking Benjamin (think So Cold, Diary of Jane, Breath) and Dream Theater (think In the Presence of Enemies, These Walls, Never Enough) levels of distortion (so not that much by many metal bands' standards), but potentially up to Ascendancy era Trivium.

I'm not really necessarily looking to go cheap or expensive here, but to give you an idea of price, I've been looking at the MI Audio Tube Zone and Wampler Triple Wreck mostly. Others I've had a look at are the Emma starts-with-a-P-weird-name-one, Zvex Box of Metal, Amp Tweaker Tight Metal, MXR Fullbore Metal, and I think it was a TUA Metalcore or something like that.

Absolutely hated the Emma - the voicing was way off what I'm after - from memory, it sounded like it would have suited that kind of low-fi black metal sound better. Far too fizzy. Zvex Box of Metal was better, but but not by much at all. Amp Tweaker Tight Metal sounded a little too aggressive and no video I could find really had a setting that wasn't specifically aimed at melting your face. MXR Fullbore Metal is a can of bees. TUA Metalcore is, surprise, surprise, definitely a metalcore pedal through and through - would work much better if I primarily played In This Moment, early Trivium etc.

As for the first two I listed, the Tube Zone sounded pretty good when I tried it, but it did become a little bit fizzy when pushed past 3 o'clock on gain, and I didn't get to try it with an amp with average or worse cleans like my Blackstar HT-5 (I played a Gibson Les Paul Traditional into the pedal into a Blues Jr when trying it out at my local store). Otherwise it was pretty good. There isn't a place probably within a thousand km of where I live that stocks the Triple Wreck though which is an issue. From demos and purely what the pedal was designed for in the first place, it seems like it fits the bill for me very well. Any suggestions there? Basically what I'm after is whether or not I should chance it on the Triple Wreck - ie just get it.

Third: noise gate/reducer. I'm more or less settled on an ISP; with the above two things added to the gear in my sig, would either Decimator be significantly better than the other? I'm also considering the MXR Smart Gate (yes/no?). I've tried the Boss NS-2 -- I can really only describe it as smothering the treble under several mattresses.

Thanks in advance for any suggestions.
Quote by AgainstYou
Meh, I got into this argument the other day, then I realised I was bullshitting the whole thing. If Melb offered law undergrad I would probably have gone there haha. In all seriousness though, I definitely think the best med,law, (insert other undergrad degree only offered as postgrad at melbourne) students are going to Monash.

ALSO: The big ugly Menzies building (the one which had to have another wing built onto it lest if fall over) was developed by Melbourne Uni educated architects.

certainly for med, a lot of the best students are going to monash, but only because its a 5 year course and it ranks above newcastle/new england and western sydney's medical schools as the only other degrees in the country that are 5 years (and not graduate entry).

the australian medical schools association ranks monash as the 7th best medical school though which usually isnt information that is available to you unless you are actually a medical student, which is a little counterproductive because that's when you need the information least... if people actually did know about it, monash med would be much less competitive.
i wouldn't be sure about law though, but i assume again, since melbourne law is graduate entry, monash is the next best as a degree itself, so naturally, that's where the victorian law hopefuls head
Quote by
I'm hitting up a Bachelor of Commerce at the University of Sunshine Coast. Looking to be an Accountant. Pretty stoked to be using my brain finally.. after taking a year off to earn some money after school. However, all of my money ended up in drift cars and Ernie Ball guitars.

were you at flinders or grammar by any chance?
Quote by AgainstYou

Melb Uni students be jealous of our rad architecture

or rather, the sparseness of it
Quote by jambi_mantra
He said audition so I'm thinking music.

makes more sense. i opened up reply before he posted
Quote by jambi_mantra

You sir, win this thread
Quote by Butt Rayge
Did any of you apply to attend uni for 2012? If so, which courses and campuses did you list as preferences, and did you get in?

I got an offer for Bachelor of Newcastle at the University of Newcastle.

This is the first time I've felt happy about achieving something in a long time.

If you applied and don't know yet if you've received an offer you can check the UAC website right now, or depending on the university you'll get a letter in the mail tomorrow. If you didn't get an offer, don't worry, there's more offers coming out at a later date.

Medicine perhaps?

That was me last year. Million interviews and random applications. I've ended up in BSc/MBBS at Uni of Qld despite being a Melbournian
at the moment, im running my eq on 9v because i havent bothered to get an 18v adapter yet. i already find daisy chaining very messy as is, and adding more 18v pedals like the whammy dt and full drive 2 is going to make me need to get something for 18v. adding another daisy chain feels like itll be a complete nightmare to manage, especially if im adding or removing pedals or messing around with pedal order, whereas with power supplies/glorifieddaisychains, theres a little less of a constantly tangling wires issue. also, i have some fair noise issues which ive narrowed down to something pedal related - most of the noise isnt there with guitar straight into amp and is there with pedals into amp but no guitar.
Im looking at getting a power supply soon, but like everything in australia, theyre all overpriced. so first question is: if i were to buy something like a dunlop dc brick with what seems to be an adapter input, can i just pick up an 18v adapter and have it work simply as it would with the adapter it can with that corresponds to the country i got it from (ie us)?

Im also looking for suggestions on power supplies. the top two on my list right now are the gator g bus and dunlop dcbrick because they have more outputs than anything by voodoo lab or t rex for the price. ill be running all the pedals in my sig perhaps with the exception of the philsophers tone, and i might sell my crybaby. im also looking to pick up a whammy dt, mi audio tube zone, zendrive, fulltone full drive 2, and probably an isp decimator ( undecided on g string).

If i had money to burn i would lookat voodoo lab or t rex but i dont. would i be going wrong with the g bus or dc brick or should i look for something else (please suggest)?
Quote by visinsita
Can the effects be mixed? I mean like Overdrive+Overdrive=Distorsion
Distorsion+Distorsion=Fuzz ? I play rock music like muse , with guitar riffs , which effects should i choose ? Distorsion or fuzz ?

in general, i'd be looking at using something geared more at distortion most of the time. bellamy has a tendency to use fuzz, but i can't remember where particularly off the top of my head. perhaps the chorus of supermassive black hole?
Quote by power freak
The zendrive doesn't like single coils.. You need some meat to get the best out of it! p90s or humbuckers only I'm afraid.

The Timmy is probably not what you're looking for either. For that "smooth creamy dumble" like sound I'd ditch the POD and use a good quality OD on its own. Use the TS9 as a clean boost for solos or extra grit.

The BB won't get you there either, it's far too distorted and "harsh" (it's not harsh in a traditional sense, only compared to the dumble-ish sound you appear to be after.) The AC will get you much closer, however it is far more compressed than other pedals on the market so it depends if that's your thing or not.

I believe the Jetter gain stage red is a popular one for single coil players but I've never tried one. It was flavour of the month a while back so it may be worth checking some newer reviews to see if the fuss has died down or not. The Ethos pedal also has great reviews if you can be bothered to tweak it but I've never tried that either, it's also probably out of budget. The menatone howie is a good pedal that I've tried, but I don't know how it'll take to singles. The HAO rumble mod is another good one worth checking out.

I hear the fuchs plush drive is basically a zen-like circuit (I haven't bothered to check, the info could be wrong) which again will struggle with singles.

There's a few things for you to look into.

(FWIW: I play a hum/CC/p90 equipped guitars into a zendrive into an amp sort of like an AC30, I know the zendrive pretty well!)

I've taken a look at all of the pedals you've suggested: shootouts, on their own, sc/hb etc
The AC and Jetter Gain Stage Red seemed to be just a hair grittier and more compressed than what I'm after (and yes, I am being really picky here), especially when compared to the Zendrive IMO. I did like the voicing of both pedals, but it felt like the Zen was better for cutting through the mix to me.
The Howie, HAO Rumble Mod and Fuchs Plush Drive had similar issues for me with being too gainy.
The Ethos is well out of budget, but does sound like it has the potential to do what I want it to. That said though, from the demos I saw, the Zendrive still seemed better overall.
Also, oddly enough, I did prefer single coils into the Zendrive over humbuckers, which I probably could just put down to me preferring single coils for blues in general.

I did, however, come across the custom relics video of their Black1 copies, and to my surprise, he was using a Full Drive 2 as his core overdrive which really gets me wondering about it again...

Quote by poppameth
I've got a couple of Zendrives, one of which I'm trying to sell but I'm in the US. I've never had issue with singles running though it. Of course I've been running either Lace Sensors or Dimarzio Area single so they aren't true singles I guess. I find the Zendrive works well on it's own but truly excels as the first part of a cascading gain circuit. Pop it in front of a good digital distortion and you get both a solid state bite and a creamy warm analogue tone.

How much are you selling for if I happen to be in the market for one in the near future?
Quote by gerraguitar
the boss blues driver actually is'nt that bad, but check out the OCD by fulltone

I know it isn't and it'd be a great pedal if I wanted mid-higher gain blues, but I find it to carpet the place with gain too much for my liking, and the tone I'm going for here is a barely to very mildly overdriven one. I'll keep the OCD in mind though.
Quote by david-vbhc
Cant go wrong with a blues drive.

You're referring directly to the Keeley one and not the Boss right? I've generally heard and found myself that they are VERY different beasts altogether.

Quote by Rob_b_543
You obviously know what you're talking about so sorry if this is obvious or not what you're after, but have you tried using the 2nd channel of your amp still set to fairly low gain, turn the eq pedal off cause you need the mids for cream. Then use the neck pickup of your strat and roll off the tone a bit, but not really below 5 or it'll "all get a bit sweet child of mine", but obviously mess around cause all guitars are different, and knock back the volume of your guitar just a smidge so it loses a bit of bite. Then i'm sure with a little bit of tweaking here and there, and trying out the pedals already in your chain to give your amp that little push, you'll be able to get it

Thanks for that, I'll give it a shot when it's at a more reasonable hour over here (even though it's new year's eve with 1 minute to go here and everyone still really is awake). I've just been a tad apprehensive because I find the drive channel can sound a little tinny, and hence, almost haven't used it at all since getting the amp. Massive kudos to you though if it gets me what I'm after.

Quote by guitardWARf
rc and ac are both less gainey than the bb

I'll definitely give them a look then.

Quote by CodeMonk

I had the misfortune of never meeting Greeny in 2010 when our schools had their annual exchange for that year. Really rather disappointing. I'll take a closer look at his stuff; I completely forgot about him for a second there.
Firstly, sorry for any perceived thread repetition.

I'm after an overdrive pedal for a creamy blues rock lead tone without breaking the bank - ie US $200ish as a max.

I'm running my Squier Affinity Strat with Texas Specials into:
Philosopher's Tone -> TS9DX (in TS9 setting, drive all the way down, level and tone about 1:00-1:30) -> Pocket POD (Dumble ODS into Line 6 4x10 models, bass 12:00, mids 10:30ish, treble 11:00ish, gain 1:00ish, light compression) -> Blackstar HT-5RH clean channel (tone 10:00-1:00 depending what I feel like on the day, volume cranked to breakup tipping point: I find this to be about 1:00 before there is definite breakup) -> (loop) EQ pedal (mids 'scooped' - except without the mids actually being suppressed; I just have everything else a little boosted) -> DD20 -> return.

I have the gain basically exactly where I want it, but the creaminess isn't there - or rather, there just isn't enough. Best examples off the top of my head I can think of at the moment: rhythm tone I've based this off is similar to the rhythm guitar heard in the last chorus of John Mayer's "Assassin" (which, yes, I'm aware he probably used an EBMM Axis 25th for rather than a strat, but bear with me), with the lead tone being an intermediate of that and Mayer's lead tone on the Continuum recording of "Belief" (specifically the Continuum recording and not the Crossroads, Abbey Road or Where The Light Is ones). I've spent weeks messing around with EQing, picking and fretting technique, effect order etc etc and couldn't find what I was after.

Basically now, I'm looking for, not necessarily the creamiest tone possible, but A creamy tone out of a pedal that works nicely with single coils rather than buckers. I also don't want it to give me a gain carpet.

I'd rather stay with some of the more major (or easily accessible) brands because a lot of places have issues with shipping to Australia and whatnot. Also, I would prefer new or blem rather than used, also to do with being in Australia - unless someone around Melbourne is selling stuff for cheap, but I doubt that'll happen soon.

On my considerations list so far:
  • Keeley BD-2 (I've heard things about it being a more transparent drive and not adding too much. True/false? Also, the Boss version seems to work better with higher levels of gain than I would like which is why it isn't here)
  • Keeley Katana (yes I know, not an OD, but would it do what I want/help me?)
  • Zendrive/Dumkudo (I haven't seen much about the Dumkudo, but the Zendrive seems like it'd be ok to go with, however, the creaminess may lack somewhat, from the demos I've seen)
  • Fulltone Fulldrive 2 MOSFET (versatile, but I'm not exactly sure it will do what I want it to)
  • Xotic BB Preamp (have only really looked into it in the last hour or so. First impression is that it's a little gain carpettey for my tastes. Yet to check out the RC or AC - worth doing?)
  • Timmy (seemed like far too transparent an overdrive to work for me. Also would probably have issues acquiring one)
  • others?

I've been looking at a Lovepedal Kanji Eternity, but I'm having difficulty finding one, for fairly obvious reasons. I'm not really a fan of the Kalamazoo at this point, but I might listen to a few more demos tomorrow.
Quote by white_ibanez10
should of bought some m-audio product instead. way more reliable and doesnt eat too much of your wallet and you will know that it will last long.

As much as I appreciate the advice, it really doesn't help me at all at the moment.

Quote by trashedlostfdup
shy of software changes, there likely isn't anything you could do to it from an electronics standpoint.

also, IMO Line 6 has terrible customer service (at least a year ago they did). i had a guitar port and bought the software to do basic recordings, i bought it used it for quite a while ago, they claim to have nothing in their system that links me to their downloaded software (who wants to wait a week when you can get it instantly... lol) i gave them every email address i use, and at the time my dad's as well.. i went up the line of authority and just was bullshit. $50 isn't worth searching for a printed receipt, at least not in my house, especially one that was five years ago. and for the sake of god couldn't they just give me a copy of it? it was completely obsolete at the time anyway, they didn't sell it or offer it.

that permanently ended my relationship to any line 6 products.

Given that this does come under the one year period for warranty, do you reckon that what I'm getting is claimable on warranty (not so much a question of 'will they actually do anything', but you're free to answer that too if you want)?
You'd at least expect things they sell to work.

There's a factory reset option on it, but it doesn't help.

There aren't any updates that I could find via Monkey

Bought it in March-ish of this year. Pretty sure early March.
I am beginning to kindle a boycott all Line 6 product hatred with the huge problems my Pocket POD is giving me.

Most notably, when plugged into my laptop, 7 times out of 10, it will restart itself every couple of seconds, rendering it as useful as melted cardboard dipped in paraffin wax is to a shark-headed giraffe that is floating in the ionosphere without sunscreen to any form of functionality for me, let alone tone adjustment.

Has anyone else had this problem and/or have a way to fix it? I would contact Line 6 about it, but it appears their site is about as functional as my Pocket POD at the moment.
Quote by Strats&Cats
I read everything you said and I don't really understand why you made this thread. Not trying to bash you or anything like that, I just don't understand what you're asking.

A typical noise gate (like the ISP stuff, NS-2, etc.) all have an adjustable "threshold" that cuts the sound to the amp when the voltage isn't high enough to pass said threshold. This gets rid of pretty much any kind of hum, but can affect the dynamics of the amp if the threshold is set too high.

A noise supressor/reduction pedal doesn't use a threshold or anything like that and instead filters the sound to get rid of noise. For example, I have an EHX Hum Debugger. This pedal filters out certain odd/even harmonics to eliminate hum. It works great for things like 60 cycle hum (from single coils), but doesn't do much to quiet an amps gain circuit, and will only eliminate minor hum, nothing big. Also, since the pedal is filtering out the signal from the guitar, there is some minor coloring from the pedal.

A few other random things:
-The pocket pod has a noise gate, a decent one at that. Just use that?
-Why are you putting the pocket pod through the amp, only to play into headphones? The sound is going to be garbage going into headphones anyway so you might as well just plug them straight into the pocket pod and safe yourself the trouble.

Sorry, I'm a little tired and have a way of making things convoluted when I am (or maybe that's just me).
Anyway, thanks, the info you gave was kinda what I was after.
Didn't realise the POD had a noise gate. I'll look into that
I've been looking to get a noise reducer/gate for a little while, and it's only really become more of an imperative after my recent gear acquisition a few days ago.

Basically, I'd like to know objectively what the differences are between the two ISP Decimator models, the MXR Noise Clamp and Smart Gate and the Boss NS-2, because I can't find any info anywhere really about what each pedal does without it conflicting with what someone has said somewhere else. Please do not go on the typical ISP Decimator is t3h 4w350m3 rant like a vast portion of these threads do. I don't care, I'm perfectly aware of how well ISP makes their noise gates.

From trawling various forums, this is what I've gathered:

The Decimator is a straight up cut-to-the-chase noise gate: input, output, threshold, that's it.

The G-String Decimator is essentially the same, but has two inputs and two outputs, one for stuff in front of the amp, the other for the loop?

The Noise Clamp effectively can add a loop where you want it, and it compares the signal that is coming into the input (presumably from a guitar or a guitar with compressor) with whatever is coming from the Noise Clamp loop and gating things in the loop accordingly.

The Smart Gate is more like a Decimator with a bell and whistle or two added.

The NS-2... I got lost because so many people use the X connection thing that I found it difficult to find out how the pedal was meant to be used in the first place, or what it can do etc.

Please correct me where I'm wrong, or if you have anything to add, go for it by all means.

On a more side note:

I've messed around with pedal order, pedal settings, having pedals physically there or not at all, played straight into the effects return etc etc and I've discerned that the noise that's being generated is from pedals, and not from lousy shielding, patch cables, daisy chain (though, yes, I assume they would contribute a little).

More specifically, my Pocket POD is what seems to be generating the most noise. I've been using it as a distortion pedal due to my lack of one at this time, and the fact that the HT-5 can't do a big modern metal tone on its own. I'm running it into a Blackstar HT-5RH into a HT-112.

I find it's ok to use it with headphones, but there is so much noise when I have it through the cab that is it very nearly unusable (this is with the full rig happening). It's generally *ok* if I play something (bit of hum), but I get some monstrous hum if not.

My normal rig into heaphones is: (see sig for actual items)
Guitar (Belman in sig, roughly equivalent to PRS Custom 22) -> Compressor -> Wah -> Tubescreamer -> amp -> POD -> EQ -> Phaser -> Delay -> return.

I have the POD placed in the loop because the sound (through headphones) becomes very stifled if it's placed in front of the amp.