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#1515 Frequency Response Graphs For Hd500 Eqs

Posted by pfsmith0 on 08 May 2013 - 11:26 AM

In the process of trying to figure out what a 4 Band Shift EQ is, I put my HD500 on the test bench and measured the frequency response of ALL the EQs in the HD500. I thought you'd find it useful so I'm sharing the results here. For example, what does a 100% shift mean? What does 0% Q mean? And just where is Freq = 38% in the Parametric EQ? Did you know when you set 2.2kHz of the Graphic EQ to -12dB you'll get a +12dB boost (!) at 1kHz before it dips down at 2.2kHz? No wonder it didn't work very well to eliminate a pesky feedback problem, but caused another one instead. Using these can give you insight into which EQ you really want to use.


I've attached the most pertinent pictures here (zipped together to make it easy). The only potential problem is the 4 Band Shift Hi Freq which has mismatched L/R channels (~3dB at 1kHz)! Every other EQ and every other setting has perfect L/R balance (less than .1dB mismatch) but this one does not. I've contacted Line 6 support before submitting this here but they see nothing out of the ordinary (i.e., it sounds fine, which may be true, but there's still a mismatch, big enough to be called a bug in my opinion). I've labeled those two graphs channel 1 & 2 because that's what my test equipment calls them. Unfortunately I didn't have the forsight to find out which was left and which was right before I tore down the setup. But the fact of a mismatch remains.


Some things you need to know to properly interpret these:

  1. An Audio Precision APx525 was used to generate the sound source and measure frequency response.
  2. Output = S/PDIF
  3. Input 1 = Mic. Input 2 = same. Mic level on back adjusted to give -20dBFS output with the Graphic EQ
  4. Unless otherwise indicated, the gain of all the other EQs were set to nominally give -20dBFS. The gains were recorded so you can see which EQs have built-in gain or loss compared to the Graphic EQ.
  5. There were no other FX or amps in the signal chain.
  6. Sample rate = 44.1kHz (factory default)

I have more complete files that contain the actual data (not just pictures) as well as more settings than shown in these few pictures attached here. Until I can find a better place to put it, you can download the entire 160M set of Excel files from: https://dl.dropboxus...easurements.zip. I am open to ideas of where to put this on a more permanent basis.


Enjoy! I hope you find these as useful as I have.


I took the HD500 back into the lab and verified that it's the Left Channel that has the odd frequency response in the Hi Freq portion of the 4 Band Shift EQ. I re-uploaded the Excel files to indicate this and re-uploaded the new 4 Band Shift EQ figures here.


I measured the frequency response of the Q Filter (per meambobbo's post) and attached it here. I also updated the giant zip of Excel files. I think this could emulate a pretty Morley wah if you make toe = hi Freq/hi Q/hi Gain and heel = low Freq/low Q/ low Gain. Also, mix attempts to add the filtered signal to the straight signal, which it does. But the filtered signal has some processing delay so the mix includes some notches in the 4k-8kHz region you may not be expecting. You can see this in the attached graphs. For the signal levels I was using (-20dBFS thru the Graphic Equalizer) you can also see some gain compression with the Q filter. So if you want it clean, stick to the lower Gain levels.


Added a PDF file that lists the frequencies (in Hz) represented by the Parametric Frequency )in %).

Attached Files

  • 25

#136851 Online Helix Reference Guide for Models

Posted by jshimkoski on 10 February 2016 - 10:40 AM

Hey guys,

I wanted a place to visit that listed all of the models inside the Helix as well as the product each of them were based on. I couldn't find anything on the web so I made something:


The site is current with firmware 1.06.0 and I'll continue to update it and add features as time progresses.

I'm not affiliated or associated with Line 6 or any of the products modeled by them. This is just a fan site.

I hope you find it convenient and useful.
  • 23

#109464 windows 10 no sound

Posted by AlanFall on 30 July 2015 - 12:08 AM

Found a solution! Just go to the playback devices and properties. Go the advanced tab and play with the options, the one that worked for me was 16 bit 48000 dvd quality!

  • 21

#88783 Updated Printable MeAmBobbo's High-Gain Guide

Posted by meambobbo on 23 March 2015 - 08:28 PM

Big thanks to Joel Fairman for taking the time to do this.  I got tired of updating the Word (.docx) and PDF versions of my Tone Guide every time there was a change, so to update it, I would simply copy paste the HTML pages.  Thus, the links all pointed to the web rather than to locations internal to the document.  Joel fixed all these links as well as added all the graphics and charts that were only available on the web.  This makes the printed guide more complete, as well as making the downloadable files easier to work with.


He also organized the patches a little differently.  And now everything - guide and patches are all available as a single zip or 7z file.


The links are on the front page of the tone guide site:



And here's the direct link for zip:



and 7z:


  • 18

#193447 PREVIEW—Helix FW 2.20 (The "Get Low" Update)

Posted by Digital_Igloo on 19 January 2017 - 11:23 AM

Helix FW 2.20 Preview (The "Get Low" Update)


[UPDATED 17. MARCH 2017. New models and features appear in green.]

New Amps (6)
Line 6 Badonk, all new Line 6 original inspired by the original high gain Big Bottom model
Del Sol 300, based on* the Sunn® Coliseum 300 bass amp
Woody Blue, based on* the Acoustic® 360 bass amp
Busy One Ch1, based on* channel 1 of the Pearce BC-1 bass preamp
Busy One Ch2, based on* channel 2 of the Pearce BC-1 bass preamp
Busy One Jump, based on* channel 1 and 2 (jumped) of the Pearce BC-1 bass preamp
New Hybrid Cabs (7)
1x12 Match H30, based on* the Matchless® DC-30 cab (12” G12H30 speaker)
1x12 Match G25, based on* the Matchless® DC-30 cab (12” Greenback 25 speaker)
1x12 Cali IV, based on* the MESA/Boogie® Mk IV 12” cab
1x12 Cali EXT, based on* the MESA/Boogie® 12” extension cab (EVM12L speaker)
1x12 Del Sol, based on* the Sunn® Coliseum 300 bass cab (12” speaker)
1x18 Del Sol, based on* the Sunn® Coliseum 300 bass cab (18” speaker)
1x18 Woody Blue, based on* the Acoustic® 360 18” bass cab
New Effects (9)
- Distortion > Obsidian 7000 (Mono, Stereo), based on* the Darkglass Electronics® Microtubes B7K Ultra bass preamp/overdrive/EQ
- Distortion > Clawthorn Drive (Mono, Stereo), based on* the Wounded Paw Battering Ram bass overdrive
- Dynamics > 3-Band Comp (Mono, Stereo), Line 6 Original multiband compressor
- Dynamics > Auto Swell (Mono, Stereo), Line 6 Original
- Modulation > PlastiChorus (Mono, Stereo), based on* the modded Arion SCH-Z chorus
- Delay > Vintage Swell (Mono, Stereo), Line 6 Original
- Delay > Adriatic Swell (Mono, Stereo), Line 6 Original
- Pitch/Synth > 3 Note Generator (Mono, Stereo), Line 6 Original
- Pitch/Synth > 4 OSC Generator (Mono, Stereo), Line 6 Original
* All product names are trademarks of their respective owners, which are in no way associated or affiliated with Line 6.
New Features
- Global Settings > MIDI/Tempo > Send MIDI Clock—Helix can now transmit MIDI clock to synchronize the tempo of external pedals, rack gear, and software. Select “Off” (Helix does not transmit clock), “MIDI” (Helix transmits clock from only the MIDI OUT jack), “USB” (Helix transmits clock only via USB), or “MIDI+USB” (Helix transmits clock from both MIDI and USB)
- Global Settings > MIDI/Tempo > Receive MIDI Clock—Helix can now synchronize its time-based effects (such as delay and modulation) to incoming MIDI clock from external DAW software, drum machines, keyboard workstations, or other modelers. Select “Off” (Helix ignores MIDI clock), “MIDI” (Helix responds to clock received at its MIDI IN jack), “USB” (Helix responds to clock received via USB), or “Auto” (Helix uses its internal tempo generator until receiving clock from either MIDI or USB)
Variax Workbench HD Support—Variax can now communicate directly with Variax Workbench HD software (Mac/PC) through Helix via USB.
- Global Settings > MIDI/Tempo > MIDI PC Send/Receive has been split into two separate parameters—MIDI PC Receive and MIDI PC Send—and moved to Page 2. In addition, you may choose whether Helix sends or receives MIDI PC (program change) messages to/from MIDI, USB, both, or neither
Clear Bypass Assignment—Individual blocks’ bypass assignments can now be cleared. From the Bypass Assign screen, select the block whose bypass assignment(s) you wish to clear. Press ACTION and then Knob 1 (Clear Assignments).
- Line 6 Allure Pack IRs—Dan Boul of 65 Amps has created a pack of six user impulse responses for use with Helix or any other modeler or software that supports them. Download the free Allure Pack here: http://line6.com/allure/
Receive MIDI Clock and Send MIDI Clock have also been added to the Tempo panel shortcut. At any time, touch TAP to open the Tempo panel.
- When slaved to external MIDI clock, TAP’s scribble strip text grays out and its switch LED ring flashes blue
- Reverb > Plate, Room, Chamber, Hall, Echo, Tile, Cave, Ducking, and Octo have all been optimized to be less DSP-intensive
- Pitch > Pitch Wham, Twin Harmony, Simple Pitch, Dual Pitch, and 3 OSC Synth have all been optimized to be less DSP-intensive
- Additions to and improvements made to the existing factory preset bundle
- If a user fails to read and follow the update instructions, Helix will scare small woodland creatures back into their holes, triggering six more weeks of winter weather

  • 14

#150548 Helix Amp Model Gallery - Real Controls vs Invented

Posted by riffyrafemetal on 20 April 2016 - 09:09 AM



Pod HD model packs amps adds and Helix Amp sim:
Fender Champ (US Small Tweed)
No Master-->100%, No Presence--> 0%, No Mid*, No Bass, No Treble

*In the tweed champ, the bass and treble are after the amp modeling, but the midrange control is between the two preamp gain stages. The midrange knob can become a cool drive feature.

The Fender Champ was a guitar amplifier made by Fender. It was introduced in 1948 and discontinued in 1982. An updated version was introduced in 2006 as part of the "Vintage Modified" line.
The Champ had the lowest power output and the simplest circuit for all of the Fender tube amps. The Champ had only one power tube, which meant that the circuit is single-ended and class A, single-ended (single 6V6 tube). Five watts and the simple toneful circuit allowed the Champ to be used easily and often in recording studios.
Tweed amplifiers typically break up earlier than later "cleaner" models and are known for their warm-sounding overdrive.
Bogner Shiva (German Mahadeva)
based on 6L6 Model, channel 2

6L6 models are 60 watts and have a touch more lowend/highend extension that's more American-style.
The beauty of the Shiva is that it takes what Marshall did in the ‘70s and ‘80s and adds some modern appointments so that the user can achieve tones ranging from classic rock to heavy metal (the utilization of the boost feature works wonders here).

One thing is constant, though: Swirling notes. It is hard to describe, but the Shiva has a midrange character that results in what sounds like a light swirling of each note and chord that creates a very harmonically rich tone.

Bogner around noon (50%) are dark, it's like turning the treble way down on a Marshall. The treble knob at 50% on a Bogner is equivalent to the treble knob at 10% on a Marshall. If you turned the treble up to 8 or 9 it would sound a lot like a Plexi.
A-30 Fawn (Vox AC-30 Fawn)
No Master, No Presence, No Mid, No Bass, No Treble

Vox redesigning the initial preamp of the AC-30. The troublesome EF-86 tube was replaced with a battery of ECC83 (12AX7) tubes. A third channel was also added. By the end of 1960, the initial AC-30 was phased out in favor of the new AC-30 fawn.
The Beatles first recordings in the Abbey Road studio used a fawn.
The early version of this AC-30 was covered in a tan or "fawn" vinyl that was as thin as wallpaper.
A single tone control rolled off the treble on all three channels simultaneously. Individual treble and bass controls were not included in the stock version of the AC-30/ Fawn. An optional factory installed, rear panel mounted "Top Boost" circuit became available in 1961. This circuit added a treble and bass control to the "Brilliant" channel, but not in this fawn model.
The amp also featured two 12 "Celestion Alnico Blue speakers. The Celestion Alnico speakers in the earliest production of the AC-30 Fawn might not have a magnet cover and might be tan, rather than blue.

Normal Channel
Brillant Channel


On-top-boost model. Both the bright channel and the normal channel each, only hit one preamp stage before going to the phase inverter in the power amp. All of the saturation of this amp comes from the power amp, and it can get pretty dirty.
The bright channel is pretty bright when run clean, but that brightness when driving the power amp results in a wonderfully rich and harmonically complex overdrive. It's quite responsive to saturation with picking dynamics and
volume knob control.

Turning up the Bias knob reduces crossover distortion the best, but there are no wrong knob settings. If you like the sound coming out, the knobs are set right for you.

Orange OR80 (Mandarin 80)
No Master, HF drive=Presence

Controls: FAC(mid range tone control by 6 pos switch) - Bass - Treble - H.F Drive(presence) - Gain

Year: 1974-75
Model: OR80
Output: 80 Watts
Preamp tubes: 12AX7
Power tubes:EL34
Bias: Fixed bias
Rectifier: solid state
Phase Inverter: Cathodyne type: 1/2 x 12ax7

The F.A.C. control stands for Frequency Analysing Control. It is a mid-range sweep that offers many variations on the Orange sound. Experiment with different settings for a variety of sounds. It is basically EQ settings from bassy all the way to the left and getting progressively thinner as you go to the right. Most people, set it all the way to the left or one click to the right from that.The FAC control switches between different interstage coupling capacitors which will change the low frequency cutoff/rolloff point of the preamp. In other words, it cuts bass increasingly with each click clockwise.

The HF drive is a presence contol, that boost/atennuates very high frequencies, comparing to other amplifiers. It's in between gain stages (2 to 3), so it does afect drive. You can call it a drive control, like the Eq, that is between stage 1 and 2.
Peavey 5150 Block Logo (PV Panama)


The Peavey 5150 is an all-tube guitar amplifier 1992 on, initially as a signature model for Eddie Van Halen.

The Peavey 5150 has four Tube 6L6 Power Tubes, and five 12AX7 Tubes in the preamplifier staging (with one as a phase inverter.) Despite its shared "plain" PCB, each component was generally high quality, allowing manufacturing ease while providing high quality tone.

A defining attribute largely responsible for the 5150 sound is the fixed bias, set to a lower value which resulted in the Power Tubes running at a lower energy commonly known as "cold-biased", resulted in a more controllable gain setting, allowing such a heavy amount of gain to be applied without sacrificing tonal definition.

Excellent frequency response (largely attributable to the vacuum tube amplification), and clarity with heavy gain. Its cultural significance in Hard Rock, later Metal, as a unique product with a unique tone.

Well known for its high gain overdrive channel, and has seen widespread use by rock, hardcore and metal guitarists. An early breakthrough was its use by Colin Richardson and Andy Sneap, two "seminal" British producers of heavy metal; especially Machine Head's Burn My Eyes (1994) helped the 5150 gain a reputation for its sound, which "defined a generation of guitar tone".

Roland JC 120 Jazz Chorus (Jazz Rivet 120)
No Master → 100%
No Presence → Exception, neutral in this case should be 50% instead of 0.

Roland Jazz Chorus is a solid-state instrument amplifiers produced in Japan since 1975. Its name comes from its built-in analog chorus effect. The Jazz Chorus series became increasingly popular in the late 1970s and early 1980s new wave and post-punk scenes because of its clean yet powerful sound, durability and relatively low cost when compared to the more commonly used amplifiers of the time such as Marshall or Fender. It also found favour amongst funk players in America. It also became popular to use for clean tones in heavy metal, with the most famous users being James Hetfield and Kirk Hammett from Metallica.

The Jazz Chorus is one of the most famous and successful combo amplifiers from its period and its earliest users included Albert King, Andy Summers (The Police), Robert Smith of The Cure and Siouxsie and the Banshees and Pat Metheny.

Engage the Bright switch to add some bite, add a chorus after the amp to simulate the stereo chorus.
Ampeg SVT (SV Beast) - Bass Amp
No Master, No Presence


The Ampeg SVT is a bass amplifier made by Ampeg. The SVT, which stands for Super Valve Technology, was designed by Bill Hughes and introduced in 1969. The SVT bass head produced 300 watts at a time when most amplifiers made less than 100. The SVT has been through many design changes over the years but is still in production today. The SVT head was initially coupled with a pair of sealed 8x10" speaker enclosures because one cabinet could not handle the power of the SVT. Later on Ampeg updated the speakers in the enclosures so that one cabinet was sufficient.


For 30 years now, we’ve heard the tone and felt the power of the mighty Ampeg® SVT® that model is based on. This workhorse has appeared on innumerable recordings and arena stages worldwide – there is no equal to the original SVT®  of pure tube magic. The SVT® set the tone, punch and arena-rattling standard for all future big gun bass rigs. Its users have included everyone from The Rolling Stones to Van Halen, and pretty much every “rock” bass player in between. We selected a 1974 Ampeg® SVT®, and we’ve also given you a 70’s SVT 8x10 speaker cabinet to pair it with. The sonic combination of this head and cab is beyond big, but you had to pray that your bandmates would help you move it! Thanks to line6, you can now get big classic rock bass tone without frequent visits to the chiropractor.

Channel Normal
Channel Bright
Gallien-Krueger GK 800RB (G Cougar 800) - Bass Amp
No Presence, Crossover freq

Designed 20 years ago, the 800RB has long been a standard of the industry—the choice of countless bass players, touring bands, and backline companies. The amplifier head delivers 400W of biamp power in a rackmountable metal case, 3 voicing filters. Great deep, punchy sound. Roadworthy and studio friendly.
A legendary bass guitar amp that has proven its worth over several decades.


What would any collection of bass amps be without a Gallien-Krueger 800RB? This model is based on the solid state amp that helped define what new bass amps sounded like for the better part of that decade. Geddy Lee had one. Will Lee used one on “Late Night With David Letterman”. And bands like Def Leppard powered through a decade of pop metal with the 800RB. The GK 800RB produces a very scooped sound, and doesn’t really distort. Try pairing this amp with another legend of the Eighties, the Hartke 410 cabinet. This rig is known for producing what we call the “mid 80’s metal bass” tone. It’s the perfect choice when you’re ready for a little Pyromania....

Low cut, contour, and high boost switches
Boost with jack, and LED crossover with switch
High and low master

  • 14

#143865 Helix Vs. AX8

Posted by chuskey on 18 March 2016 - 04:48 PM



Had a fun time comparing a buddy of mine's AX8 today to my Helix! We've each only had our respective units for a very short amount of time so there are things about each we're still learning. However I've been a LONG TIME Line 6 user and he's been an Axe FX user for several years. So not completely new territory. 

Spoiler alert: If you can't get a good tone out of either one of these units, it's your fault. Plain and simple. It's not that your ears are that discerning, you just don't know what you're doing. Sorry, maybe guitar playing isn't your calling. 

With that out of the way let me move on. 

The signal path was Crate Powerblock into Friedman 2x12 with one Vintage 30 and one Creamback. It produced about as much "amp in the room" sound as you could ask for. All tones done on each unit were amp only with no speaker modelling. 

As a side note, also in the room was a Friedman Dirty Shirley with matching 1x12 cabinet, so there was a high end tube amp there for reference. 

Admittedly I felt like bringing a Line 6 product into a room with a Fractal product for a comparission put me as the underdog. From everything I've read online the Helix has the competition beat on features, but what about pure amp tone?

I'm here to say that the Helix held it's own and then some. At no point did I feel like the Helix was a step behind the AX8. Just dialed up an amp and it sounded amazing right out of the gate. Something Line 6 has MASSIVELY struggled with in the past. I've owned literally every incarnation of Line 6's product line and this is the first time they've produced a product that doesn't demand a ton of tweaking to find the magic sweet spot. 

This opinion was echoed by my friend who is a long time Fractal user. So not just my opinion in a vacuum. 

As a Helix user I feel compelled to point out the positives of it in this comparison, so that's exactly what I'm going to do. Not to take anything away from the AX8, but this is where I'm coming from. I'll leave room for AX8 users, or my friend with the AX8, to chime in here. 

Here are the pluses for Helix:

The UI: on the Helix it is far and away more advanced than on the AX8. I'm speaking in terms of the on unit UI and not the PC editor. The Helix Editor isn't out yet so no way to compare that. But for using each unit stand alone the Helix UI is hands down the winner. Everything is faster, easier, and more intuative. Assigning pedals and controllers, using pedal edit mode, etc. Not a knock on the AX8, just showing how much design effort went into the Helix UI. 

Flexibility and routing: Again, this is another area that Helix shines. If you can dream it up, you can route it in Helix. And do so very easily thanks to a very intuative UI. Want a signal path with 4 drives, 6 delays, and 3 reverbs? No problem with Helix. Plus the 4 physical send/receives give you loads of flexibility to incorporating outboard gear. Need to route your dry guitar signal one place, your wet guitar signal another, and the looper another? No problem. 

Ease of creating tones: I was surprised that my vote for this would go to Helix. As a long time Line 6 user I'm used to spending hours dialing in the perfect tone. With Helix things just work. We found that amps, and especially effects, were very quick on the Helix. Everything was more or less in place and ready to go. You just had to add it to the signal chain and make adjustments to suit your taste. 

Ease of use: When using this as a live unit I have to give the nod to Helix here. The scribble strips, with customize-able text, were gold. I know exactly what function each pedal is performing. Something that was a challenge on the HD500(X). Along with the very large color screen showing exactly what's going on it's a breeze to use this thing live. The AX8 takes a more basic approach, and is very workable, but not on the same level as Helix. 

Built in expression pedal: Having a built in expression pedal, with a toe switch, is a big deal. At least to me. With an external pedal I'm left to choose one function of the expression pedal instead of two. 

Overall tone: I felt like this could go either way. On this day I think our Helix presets were pretty rockin', but either unit can be tailored to do EXACTLY what you want. They both sound awesome. I can say with all honesty though that the Helix didn't give up an inch tone wise. Which surprised the both of us. 

BTW, the Friedman Dirty Shirley model on the AX8 was spot on and we both felt like bringing the "real" dirty shirley into the equation was pointless. The AX8 simply sounded as good or better than the real deal. Sorry tube snobs, but facts are facts clear.png

Pluses for the AX8:

It did sound really good! There's no denying that, nor any reason to. It's an awesome unit. 

Amp models: In terms of sheer number of amp models there isn't a contest between these two units. The AX8 far outpaces the Helix by a mile. However the question is how many amp models do you need? Maybe I'm playing devil's advocate here, but I don't find that I have trouble covering all the ground I need with Helix's selection. Totally a matter of opinion though. Much respect for the sheer amount of work Cliff has put into modelling this number of amps. If the amount of amp models is most important to you then there is no comparison. 

Form factor: This could go either way. Overall I'll take the Helix because of the built in expression pedal and increased number of ins/outs. But I do like the compactness of the AX8. The Helix is big and heavy. 

I'm a Helix owner so obviously you can tell that I am going to lean towards the Helix. Having said that I can say with COMPLETE honesty that the Helix really shined today when comparing the two. All things being equal I take the Helix all day long and don't regret the purchase for a minute. My buddy was even joking about buying one once he sold off some of his other gear clear.png

Most importantly though is that fact that there are two INCREDIBLE units on the market for, given what they do, not a lot of money. It is an amazing time to be a guitar player. I've been playing way long enough to remember when it wasn't so. I remember playing through a Crate solid state amp.....wow how times have changed!!

So as a community let's be thankful for the tools at our disposal. We live in a great time to be a musician and let's truly appreciate these miracle boxes that can be had for less than the cost of a Marshall half stack "back in the day". Or this day for that matter. 


  • 14

#88390 Part 2 of my POD HD500X Demonstration Video now uploaded

Posted by PeterJH on 20 March 2015 - 11:10 PM

Hi everyone,


Just to let you know that I've uploaded my second video in the series on the POD HD500X.


I've shared the way that I create my own patches along with some info as to how I eq my tones to fit into a mix and not get lost.


It is a fairly detailed video which I hope will be useful in fine tuning your own patches.


I ended off the video by playing two very short clips of two of the patches created in the video to show how nicely they fit into a mix.


I must stress however that this is the way that I do this. I'm not saying that this is the right or wrong way to do it. It works for me and it might just work for you too.


I will be updating my website in the very near future with a few new patches. This video did take some time to produce so I will get around to that asap. Please bear with me.


Hope you enjoy,









  • 12

#150514 Helix Amp Model Gallery - Real Controls vs Invented

Posted by riffyrafemetal on 20 April 2016 - 06:23 AM



'65 Marshall JTM-45 [BRIT J-45]

(no master) --> Defualt setting 10
One of the earlier amps that, as mentioned above, found its inspiration in the tweed Fender®Bassman®, but nevertheless managed to sound like something quite different as it took on several constructional twists and design elements that marked the beginning transition from a mellower Fender like tone to the distinctive, bright “crunchy” sound of all Marshall® amps to follow. Hefty, high-quality British transformers and KT66 output tubes (a 6L6 equivalent, but with more power and punch) gave the JTM-45 a huge soundstage and a smoother overdrive tone than the later EL34-based Marshalls that more players are familiar with today. Cranked through a closed-back 4x12” cab with Celestion® G12M “Greenback” speakers, this rig evokes the archetypal Brit-rock and blues-rock guitar tone. Interesting side note: this is the exact same amplifier as the Marshall® “Bluesbreaker” that Eric Clapton made famous, but in head form, rather than housed in a 2x12” combo. This is your starting if you’re looking for that ‘beano’ tone.
Brit J-45 NRM: The Normal channel is the mellower of the two, with less (as you’d expect) brightness and gain than the Bright channel.
Brit J-45 BRT: The Bright channel utilizes the second half of the first preamp tube (the Normal channel uses the first half only) for a different voicing. High frequencies are increased due to an inter-stage high shelving filter

It's a bass-heavy amp --> Decreasing Bass could be a good tip. Great for clean tones as well as rock tones

'59 Marshall “Plexi” Super Lead 100 (BRIT PLEXI)

(No Master)

Tthe stack four inputs, EL34 tubes Both the Normal and Bright inputs of this legendary Marshall® 100 watt beast. First produced in 1965 (note that the “1959 “ is a model number and does not indicate the date of manufacture) is often referred to as the “original” Plexi, featuring two channels and four inputs. It was utilized by Pete Towsend, Eric Clapton, and most famously, by Jimi Hendrix at his Woodstock performance.

Brit Plexi Nrm : The Normal channel, as you might expect, offers a flatter EQ response and a bit lower gain, well-suited for rhythm playing.
Brit Plexi Brt: The Bright channel features a boosted, brighter tone, which is ideal for a more cutting lead tone

Brit Plexi Jump: Normal channel + Bright channel jumped from imput.

Guitar playing is all about experimentation, isn't it? That, and finding all the possible ways to get more distortion out of whatever gear you have at hand. One of the fun things you can do with a Plexi is take a short guitar cable and jumper channel I and channel II (as they're frequently numbered) together for a little extra saturation. Some guys loved this sound so much that they pulled the chassis and permanently wired a jumper into the amp. Being the obsessive/compulsive tone freaks we are, we just had to give you the  Plexi Jump  model to give you a sound based on of this setup.


Modeled after* the infamous '68 Marshall® 'Plexi' Super Lead. By the time this amp was built (ca. 1968), Marshall® had completely changed the circuitry away from the Fender® 6L6 power tube heritage and moved to an EL34 tube. Another major tone difference was due to the necessary output & power supply transformer changes. All this mucking about added up to create a tone forever linked with Rock Guitar. Amps of this era didn't have any sort of master volume control, so to get the sound you'd have to crank your Super Lead — just the thing to help you really make friends with the neighbors. Hendrix used Marshall®s of this era; a decade later Van Halen's first two records owed their "brown sound" to a 100-watt Plexi (Our Super Lead, in fact, has the 'lay down' transformer that was unique to '68 models, the same as Hendrix and Van Halen's Marshalls®.). To get a crunch sound out of a Plexi, you would likely crank the input volume and tone controls. You'll find that, in keeping with our "make-it-sound-a-whole-lot-like-the-original" concept, this model is set up to do pretty darned near the same thing.

Plexi is supposed to sound fizzy (it's helps to cut through in a mix). Don't be afraid to turn the bass all the way down or the treble all the way up. Just like with the actual amp. For example, on the normal channel of a Plexi most people turn the bass way down. Otherwise it's too flubby." Settings for a "typical" Plexi tone could be aprox. Bass: 2, Mid: 8, Treble 7.5. Presence adjust to taste.


'71 Park 75 [BRIT P-75]

(no master), brightness=presence?
Were manufactured by Jim Marshall from the mid ’60s until the late ’70s as a means of circumventing an exclusive English distribution deal for the amplifiers bearing his own name. It got its name from the dealer Johnny Jones’ wife’s maiden name, Park. These amps have become legendary in their own right, but none has quite attained the status of the
beefy Park® 75. Although they were usually based loosely on circuits used in classic Marshall amps, Park models were often given clever new twists, such as the increased front-end gain in the 75 and the use of military-grade KT88 output tubes rather than the traditional EL34s. Our specimen comes paired with a 1973/74 speaker cabinet loaded with four Rola Celestion
G12H speakers. Add it all up, and it’s a sizzling, crunchy plexi-style tone like nothing you’ve ever heard before, equally adept at classic British blues-rock and contemporary grind.

Brit P-75 NRM: The Normal channel is the mellower of the two, with less (as you’d expect) brightness and gain than the Bright channel.
Brit P-75 BRT: The Bright channel utilizes the second half of the first preamp tube (the Normal channel uses the first half only) for a different voicing. High frequencies are increased due to an inter-stage high-shelving filter.


'82 Marshall JCM-800 [BRIT 2204]

As Marshall amplifiers evolved through the course of the ’80s, the JCM-800 (1981-’90) came to stand out as the new flagship of the range. While the 2210 version—previously modeled by Line 6—was enjoyed by many for its 100 watts of power and two foot switchable channels, the 2204 50-watter EL34 came to be known as the flag-bearer of classic Marshall tone.
With its one, dual-input channel, added versatility of its Pre-Amp Volume and Marshall’s new Master Volume control, the JCM-800 2204 was otherwise not a stone’s throw from the hallowed “plexi” and “metal” panel 1987 Lead Models of the late ’60s and early ’70s, although its front-end gain could be tapped more easily without blowing your head off.
Cranked through a closed-back 4x12” with Celestion® G12T-75 speakers, this is the pure sound of ’80s rock, the amp that propelled countless hits from that decade and beyond.

Turn to this Amp Model to conjure up tones of the coveted JCM 800, one of Marshall's most universally acclaimed modern amps. This updated version of the Plexi continued Marshall's heritage with added gain and edge for a new generation of rock guitarists. One of the biggest differences here is that the tone controls are located after the preamp tubes.

Turn up Master Volume. Try with a low-gain TS808 or Tube Drive.
The real amp is too bright, you can adjust the various tone controls and parameters to reduce the brightness to your tastes presence normally way down. They are designed to be run loud and the brightness decreases as the MV is increased. Designed to get their character from power amp distortion. If you don't push the power amp all you are hearing is the preamp which is voiced to be trebly. The power amp then compresses the highs and the sound gets fatter, but MV too high and will get muddy.
The sound of 80's hair metal,treble boosting amplifies the upper frequencies, however, that treble boosting helps the sound cut


2002 Bogner Uberschall [GERMAN UBERSONIC]
Plenty of amps have fought it out to be baddest of the bad in the high-gain stakes, but the Bogner® Uberschall is as heavy, mean, and downright evil sounding as they come. With a whopping four 12AX7s worth of preamp gain, plus two more for FX loop and phase inverter, rammed through a quad of EL34 output tubes, the Uberschall (German for “super sonic”) was designed to be Armageddon in a box. A take-no-prisoners distortion machine for the most aggressive shred and nu-metal players on the planet. In addition to its unprecedented levels of highly saturated gain, this amp packs the eviscerating bass response needed to put this kind of music across on the big stage.

This model is reminiscent of an 800, modded for heavier, grinding lows and what some call insane gain.

 The presence knob on the Bogner Ubserschall is more like a contour, affects most of the midrange as well.

Heavy grinding lows and insane gain, it could be too boomy (low cut). From Real Amp manual: starting point control values, gain 60%, bass 60%, mid 60%, Treble 60%, Presence 60%.
Keep the Master volume low (5 or less). Turn up Presence, add Mids
Bogner manual: "One of the most unique items is our "Presence" control. It's an amazing combination of a midrange-presence control. As you sweep through its range you will notice an incredible variety of tones this one control allows. For an extremely aggressive sub-harmonic bass and scooped-midrange sound, keep the presence off or very low. A huge 3-dimensional tone can be found by running the presence around 2 o'clock. Pushing the "Presence" control to maximum will allow you to cut a sonic path through the mix by reinforcing your midrange and slightly rolling off the sub-bass. Trust us: REALLY check out the presence control to unleash the hidden secrets of the UBERSCHALL. The "Midrange" control is very interactive with all the other tone controls, you can go from a hollow scooped-mid setting to an aggressive in your face and on your throat kind of intensity. The "Bass" control allows almost a sub-harmonic low-end to be added, at high volumes be sure to keep the bass down a bit to keep your tone focused like a laser beam"

2001 Mesa Boogie Dual Rectifier Solo [CALI RECTIFIRE]
Mesa/Boogie® almost single-handedly, and simultaneously, established the “custom amp (aka boutique)” and “high-gain” crazes in the early ’70s, and has continued to set the pace for nearly four decades. As the new standard for grunge and alt-rock amplification, the Dual Rectifier® pushed this pedigree forward to the new millennium, and its high-gain third channel established the tone to beat for the ’90s and early ’00s guitar rock. With broad control over its drive and level, and a versatile tone stack, it can go from thundering, scooped crunch to soaring lead tones with a creamy midrange, all with crushing volume and authority. Others have come and gone, but the Dual Rectifier continues to earn its place on the big stage, and to exert its authority over lesser amplification efforts.
Class AB, 6L6. Modern setting.


Amp Model is based on* a 2001 3 Channel Mesa/Boogie® Dual Rectifier® Solo Head. The Dual Rectifier® was part of Boogie's more modern, high gain approach for that "big hair" sound. In contrast to the earlier Boogies, the Dual Rectifier's tone controls have more influence at high gain settings, so you can scoop the mids and increase the bottom end.
We used Channel 3 on the Modern setting for this one with the rear switches set to Bold and Tube Rectifier®, respectively.

Real Rectos are bassy/fizzy beasts but that tone works great for certain genres
This is based on the Modern mode, so be very careful with the Master parameter. If you turn it up too high it will flub out really quick. If in doubt reduce the MV (because there is no negative feedback, the power amp has a lot more gain and a huge bass boost).


2009 ENGL Fireball 100 [ANGL Meteor]
Mid boost
Great for aggressive, drop-tuned riff work, Based on* 2009 ENGL® Fireball 100 (German) Designed to redefine the stereotypical “shred” sound and dial in a more musical lower-midrange and bass response, the ENGL Fireball 100 has become one of the new standards of contemporary rock and metal. Using a quad of 6L6 output tubes for mammoth lows and gut-thumping punch, and four 12AX7 preamp tubes for scorched-earth gain levels, the Fireball 100 nevertheless brings great refinement and articulation to this aggressive genre, boasts surprising versatility, and has earned its keep in the rigs of Ritchie Blackmore and Steve Morse.

Since the Treble and Presence control knobs sweep through different frequency ranges and influence
the signal at different places in the amp's internal signal chain, you can dial in different combinations
of treble and presence settings to come up with many interesting sonic variations.

'93 Soldano SLO-100 [SOLO LEAD]

Noted for its hot-rod chrome chassis and aggressive rhythm tone. Normal (Clean / Crunch) and snarling Lead channel,100w, 6L6 tubes.
Now considered a modern American classic, have made it the heart and soul of many of Rock, Metal, and Electric Blues, Mike Soldano created his flagship Super Lead Overdrive 100 (SLO-100) amplifier in 1987 and continues to hand-build it to this day. The SLO-100 was made an instant hit by early adopters Eric Clapton and Mark Knopfler, and used by a range of players, including Warren DeMartini, Warren Haynes,
Lou Reed, and Eddie Van Halen. Much of the love for the SLO-100 is due to not only its juicy high gain tones, but also its clean and crunchy capabilities, making it an extremely versatile head. The SLO-100 features two channels, Normal and Overdrive, with a Clean / Crunch gain switch on the Normal channel. We loved the different characteristics of this amp so much that we created three separate models!

Solo Lead Clean: This model of the Normal channel switched to Clean provides the most headroom and a variety of warm to shimmery clean tones.
Solo Lead Crunch: Here we’ve modeled the Normal channel switched to Crunch, which is superb for a range of distorted textures from polite to aggressive.
Solo Lead Overdrive: A model of the Overdrive channel with some seriously tight bottom chunk to liquid, screaming lead capabilities

Mike Soldano first came to fame as the guy who could do all the really cool mods to your Marshall®. It wasn't long before he started building his own 'hot-rod' amps — sporting chromed transformers and chassis, no less. Mike's amps are also famous for their bullet-proof construction and military spec wiring and components.
While primarily known for its high gain personality, the SLO-100 has a great clean tone as well. Eric Clapton put Soldano on the map when he played "Saturday Night Live" with his Soldano SLO-100.

Those amps are all designed to get their character from power amp distortion. If you don't push the power amp all you are hearing is the preamp which is voiced to be trebly. The power amp then compresses the highs and the sound gets fatter. Many people find SLOs too bright. It was designed as a large stage/stadium amp. Running one at your local pub is going to give results that are very thin and buzzy, best tones achieved by increasing the master and backing off the preamp, just like the real deal. The key to an SLO100 is to run the MV high so that the mids thicken up. Otherwise it's a shrill mess. In certain contexts with the right IR it can be a cool sound.
Rectifier preamp is a derivative of the SLO-100.
Many times the knobs aren't "centered". If you put the Treble knob at noon it isn't actually at 50%, in the case of an SLO100 it is intentional. On an SLO100 all the way down is around 8:00 and all the way up is 6:00 so 50% is around 1:00 not noon."


'60s Ampeg B-15NF Portaflex [Tuckn' Go] -Bass Amp

(no mid, no presence, no master)
Get sweet and lowdown with this model of the honorable ‘60s Ampeg® B-15F bass amp, complete with the Custom Design, CTS 15 inch speaker. The unique Portaflex® design consisted of the tube amp’s electronics being mounted on a chassis that “flipped over” (hence our nifty model name) to secure as part of the speaker cabinet, intended to offer the portability of a combo, without the over-heating and rattling problems associated with combo amps of the period. Ampeg® founder Everett Hull was not a fan of Rock ‘n Roll music, and thus conservatively rated this amp at 30 watts, to encourage its users to keep the volume at “sensible” levels to avoid distortion. But we think this versatile low-ender sounds just as great turned up for some throaty growl.


All-valve bass - 25W RMS , speaker 1 x 15" custom Eminence, preamp 3 x 12AX7, rectifier 1 x 5AR4 or 5U4G, power amp 2 x 6L6GC
It’s tuned and front-ported, has a closed back, is 25 watts with a single 15-inch speaker, and set a new standard for cabinet and speaker efficiency, tone and convenience in bass amplification. If we had to sum up the amp’s sound up in one sentence, we would simply say: Listen to James Jamerson’s bass playing on the Motown®/Tamala records of the 1960’s — The Supremes, The Four Tops, The Temptations, Marvin Gaye, Stevie Wonder, and many more. Jamerson played bass on more Motown hits than anyone else, and his choice for amplification was the Ampeg® B-15. We think you’ll agree that the sound of his P Bass® through that amp on those records is as fresh and exciting today as it was 35 years ago. And if he’s not enough to convince you, how about “Duck” Dunn! Don’t get us started....

Line 6 Elektrik
This high-voltage, face-melting original has interactive presence & mid-range controls, with more gain than you can shake a stick at. It has something from the first Bomber Uber.
Line 6 Epic
A metal-freindly beast that provides sustain for days at virtually any playing dynamic, giving up gobs of distortion with ease.
Line 6 Doom

Here’s a hybrid to fill a void for doom/sludge players. It’s a JCM800 preamp going into a Hiwatt® power amp with some additional tweaks, to give you large amounts of gain and a rich, sag-induced reaction with a whole lot of bass.

  • 12

#12299 Pod Hd 500 - 500x *new* Routing Schematics

Posted by perapera on 16 August 2013 - 05:38 AM

I posted this in the old forum months ago,

since many peole found it useful I thought I could re-post it here:



I really think these are important things not stated (or in some cases not clearly stated) in the manual, that you need to know to start seriously programming your POD HD

I ran some serious tests on my Pod HD 500 and here is what I found out (I made my tests on a POD HD500 but this is valid for HD500X and HD Pro and is very similar for the "bean" version too),

I'll try to be as synthetic (but complete and clear) as possible, but this is going to be a long reading so sit down and take your time or just go surfing somewhere else



In short: the "famous" [input-1: guitar / input-2: variax] setting gives you different levels of signal depending on the position of the first *mono* effect block you use (amplifiers included), in particular you LOSE 6dB in the "pre" path in comparison to the path A/B or post path

(note that this is not the same as saying that you gain 6dB with input-2 to "same", read on).


[ if you don't know what I'm talking about just go and read this thread:


then come back here to hear a different opinion on the matter]


first of all, try it out:

- connect a guitar to the guitar input and the Left output to a full-range linear amp (or use your headphones)

- recall a "new tone" default blank patch

- set input-1 to Guitar and input-2 to Variax

- set mixer channel A fader to unity (0.0dB) and pan to center

- set mixer channel B fader to mute

- setup a noise gate* with the threshold set to 0% in "pre" position

(with this setting this IS a unity gain mono fx block)

- play thru it

- now if you bypass it, you'll hear that it looses 6dB of level when it's active (I initially thought this was noise gate's fault, but it's NOT)

- now re-activate the noise gate and move it in A or "post" path

- now if you try to bypass it you'll hear that it does NOT loose any dB

- try moving the block back and forth between pre and A or post paths and you'll hear more level in path A or post than in pre


this was already found out at least by hurghanico here: http://line6.com/sup...e/403287#403287

but it's so important that needs a dedicated and more detailed thread.


[* you can repeat the experiment with other mono effects instead of a noise gate but keep in mind that, if you want to clearly hear a level difference, you need a mono unity gain (www.music-dictionary.org/unity_gain) effect, for example:

- a tube comp with thresh 100% & level 2% settings will work just as the noise gate above

- an fx loop block with a mono cable connected between send and return will work just the same (but also read point 2 below)

- do it with an amp with medium-low gain and, moving it between pre and A or post paths, you'll hear a significant difference in gain/ovedrive/distortion, not only level difference]



OK now that you heard it, let's see it in detail;


these are the REAL schemes of the pod and fx blocks routing, yes it's done by hand and I love it ;-)




As you can see the pre path is a "dual-path"

while A, B and post are all stereo paths;

at the splitting point, where the path A and B are born,

the signal coming from input-1 is splittted to the Left and Right channels of the path A

and the signal coming from input-2 is splittted to the Left and Right channels of the path B;


furthermore all fx blocks have TWO inputs and two outputs and the mono blocks do attenuate by 6dB and sum their inputs, then process the result and then split their mono output to both outputs of the block;


for those who don't know, notice that:

- "splitting" means duplicating one mono signal to two "routes"

- and summing those two identical signals means doubling the level of the original signal (which equals to 6dB more)


[and some side-notes:

- the "stereo dry & mono wet" effects are for example the pitch effects and the "dry" type delays, I'm not considering this type of effects in this post, but they work as expected from the scheme you see above;

- you can find a list of all the fx blocks divided by type here:


where "stereo dry & mono wet" blocks are called "Stereo Thru/Mono Effect" which I personally find less clear

- the mixer control named as "pan" is actually a "balance" control because if you move it to one side (e.g.: left) it acts on the stereo or dual mono signal by doing NOTHING on that side (left) and ATTENUATING the opposite side (right)]



So, summarizing, if you only activate input-1, in the pre path, the first mono effect is attenuating the input 1 and 2 and summing them, but, since input-2 is actually silence, you loose 6dB;

in A, B and post paths the effects are receiving a doubled signal on L/R, so the mono blocks, attenuating and summing the two signals, receive the right signal level to process


so using "same" or "guitar" for input-2 does not mean to gain anything, but having a constant doubled signal wich is compensated by a 6dB attenuation in each mono summing it encounters in his flow

please note that I am NOT saying that using only input-1 is wrong, you just need to know that this can give you different gain results depending on the position of the first mono effect


with only input-1 active (Guitar/Variax) and the same parameter values, this:



is giving you more distortion than that:



now, if you use those two setups with "Input-1: Guitar / Input-2: Same", you get EXACTLY the same sound with both


and this is something that can not be ignored

...don't know how to be more clear than that

  • 12

#133739 Wow Just got Helix....sound study vs Fractal

Posted by rstepan on 25 January 2016 - 09:38 PM

The Line 6 genius collective created the most versatile and beautiful pedal...Helix
I have the Fractal FX II and making a comparison with the new Helix
The user interface on the Helix is second to none....period
You don't need to read the manual...it's like an IPad...completely intuitive .
The large screen is really a work of genius....and building new patches takes less than a minute
Light years ahead of any floor pedal
theFractal is very, very good...but the Helix delivers on par or better sound without the hours needed to build an amp from scratch......I would rather be playing guitar than programming patches......
Line 6 really improved their amp modeling and the real test is turning down your guitar volume....the Helix responds like a real amp and cleans up beautifully .....very sensitive to your picking...very amp like...
Here is my first week summary of this new guy....
2. Sonic realism and clean signal with latest and greatest chip set....
A. The Main Processors - Analog Devices ADSP-21469 SHARC Processors
3. Touch capacitive footswitches......brilliant
4 scribble pad for each footswitch. ...the best idea for live playing...no more tape-sharpie
5. Effects are better than TC Electronics and more sonically matched to the modern guitar
6. IR cab capabilities ....future cool
7. 4 sends. 4 receives all assignable.....what look out Fractal you've been served!
8. More ins and outs on the back for any possible setup
9."phantom powered mic input....
10. Create multiple everything....different signal paths....
11. Huge main User interface
12. I Can see the tuner from 100 ft away

It is easy to believe they spent 6 years developing this Flagship processor
They really designed this with the working guitarist professional in mind and have loaded it with
So many positives....and the sound is beautiful.....I have mine patched to my Mesa head and Orange Th30,
Marshall 40c and Hughes and Kettner 38 all at the same time....using different signal paths....at gigs
It sounds so 3 dimensional and warm,
  • 11

#122498 Links to original modeled FX manuals and specs

Posted by PiFromBRC on 04 November 2015 - 02:26 PM

I'm printing up the manual and cheat sheet for the Helix (c'mon....27th).  I'm a documentation junkie with a serious highlighter addiction. My understanding (as read from other threads) is that the interface for specific amps and stomp boxes are modeled on the interface for the originals.  


In another thread I suggested that we compile a list of links for the original stomps, amps, etc., that are modeled in the Helix. Here is what I have so far.  Please note that Line 6 originals are not part of this list.


I've done my level best finding actual source content.  I've included notes where I felt they were needed.  Feel free to jump on correcting anything or adding items.


If any of the L6 guys happen to feel the love, I'm number 40 in line at MF, my Gear Head is Tom at 3077, and I would LOVE to be bumped up on that list. :P 


Distortion Models


Minotaur:            Klon Centaur




Drive:                    Fulltone OCD                    




Driver:                  Chandler Tube Driver





OD:                        DOD OD-250

(note:  Not much here)



Scream 808:        Ibanez TS808 Tube Screamer




D9:                         MAXON SD9 Sonic Distortion




Disto:                    Pro Co Rat




Fuzz:                      Arbiter FuzzFace




Fuzz:                      Electro-Harmonix Big Muff Pi




Fuzz:                      Z.Vex Fuzz Factory

(note: I’m not sure this is the correct one, but it is the only one I could find)




Fuzz:                      Tycobrahe Ocatavia

(note:  This link is for a replica.  Best I could find.  If somebody can find a link to the actual original, please provide)



Megaphone:      Megaphone

(note:  I’m presuming they are talking about the Voicetone X1.  If not, somebody please correct)






Squeeze:             MXR Dyna Comp



LA Studio

Comp:                   Teletronix LA-2A



http://lcweb2.loc.go...g Amplifier.pdf




10 Band Graphic

EQ:                         MXR Ten Band Graphic EQ






Optical Trem:     Fender Optical Tremolo Circuit

(note:  This is for a feature, so here is a link to an article on the circuit)



60’s Bias

Trem:                    Vox AC-15 Tremolo

(note:  This is for a feature, so here is a link to the amp)




Script Mod

Phase:             MXR Phase 90


(note: It is a flashed-base site so you need to click on the "manual" tab



Vibe:                Shin-ei Uni-Vibe


(note:  I have not been able to find an actual scan of the manual.  This is a site which offers one unit for sale and includes a picture of the manual's text seventh picture from left)



Flanger:               MXR 117 Flanger




Flanger:               A/DA Flanger

http://www.adaamps.c...nal FLNGMAN.pdf



Flange:                 Electro-Harmonix Deluxe EM




Chorus:                                BOSS CE-1


(note:  Click on Manual and/or schematics link to DL pdf)



Chorus:                                DyTronics Tri-Stereo Chorus


(note:  I believe this is  the correct one to that which they modeled)



  • 11

#116452 Just canceled my order at MF

Posted by Digital_Igloo on 01 October 2015 - 05:33 PM

LOL! Of course you dont.


With all due respect, who do you work for (rhetorical)? And how important is it to promote the product features in a positive light? And if like many folks you DID prefer the software editor to futzing with your feet, would you really make that statement in public on your employers site?


Im jes' sayin... I can understand the importance of the position you present on the advantages of editing with your feet on a distant screen then up close with your hands looking at a computer monitor. But old timers like me will find it difficult seeing details on the floor while standing. And thats just one of several good reasons why I question the validity of this feature for many folks.


By comparison, putting down your guitar pick and picking up a mouse is a really crappy experience, and completely destroys one's creative flow. There's a reason why so many people prefer stomboxes and an amp, and it's not always because of the sound. Helix replicates much of this experience.


Use one, and then we'll talk.

  • 11

#94457 Global EQ Frequency Response Plots

Posted by pfsmith0 on 20 April 2015 - 07:06 PM

I took my HD500 in after upgrading it to 2.62 and measured the frequency responses of the Global EQ. I used an Audio Precision to generate a 100mV RMS signal into the Guitar input (set to Normal) and listen to the SPDIF output. I used a blank patch and panned Paths A/B to full L/R, respectively.


Things aren't nearly as interesting as the FX EQs (plotted herefor reference) because there are no % labels. Line 6 properly labeled the actual filter parameters and, based on my measurements, they did a pretty good job of getting them right. L/R balance is perfect. No surprises, although my measured Q was x2 what their label says. Not a big deal in my book. Still, attached here are half the graphs. Due to upload filesize limits I had to spread the plots out over two messages. The rest of the plots follow below.

Attached Files

  • 10

#178763 Compressors explained?

Posted by HonestOpinion on 21 October 2016 - 11:36 PM

Here is a document I have been working on but is not really ready for prime time yet. It is drawn from a variety of unquoted sources (my bad) and as I mentioned not yet fully edited but in the interests of giving you some general knowledge to work with I will post it up. There are probably other users on the forum who can provide more explicit settings for the compressors on the Helix and there are also user provided presets on CustomTone (good luck sorting through them) that serve as great examples. Anyway, here goes, a completely deranged and disorganized guide to compression that is designed to give you a working knowledge of compressor settings and operation rather than provide you with the settings but may nonetheless shed some light on the subject. There is a great link to suggested compressor settings for a variety of instruments as well as some other sample settings towards the end of this post. There is also a section further down on how to use the Helix 'LA Comp' compressor as well as a general section that applies to the Helix's 'Deluxe Comp'.

For those of us who use compressors in a preset, most of us probably have it on all the time (and that is ok), or perhaps have it setup to switch off when we want more dynamics, for instance when we kick in a distortion pedal or heavier sound on a solo via a snapshot or pedal assign. I think however that the compressor is a prime candidate for assigning parameters to snapshots so that you can change the values on the compressor to match your tempo, attack, or song part (intro, verse, chorus, solo, bridge, outro) instead of just switching it in and out or leaving it on all the time.

I have gathered a bunch of notes together over time from various websites regarding compression so this work is the result of others much more well versed on the subject. My apologies in advance for any inadvertent plagiarism. I would be happy to cite sources or remove text if anyone sees their text here. Some notes may be redundant as they came from a wide variety of sources. I hope this assists some folks in getting their heads wrapped around compression parameters and their usage in different scenarios with the guitar and bass but also with vocals, drums, etc..

Why use compression?:

  • Reduce sudden peaks/spikes. Smooth and make levels more uniform and less jarring on guitar, bass, drums, vocals or other instruments
  • As a boost
  • Add sustain, particularly on clean presets, but can also sound great with distortion and overdrive
  • Articulation, dynamics (incorrect settings can squash these)
  • Push an instrument more out front
  • Make an instrument sit better in the mix
  • 'Chicken pickin', funk, and other particular genres or styles
  • Special effects (sometimes pumping or breathing can be a good thing)
  • Suppressing microphone feedback, 'ringing' out a PA
  • Leveling overall recording output in the mastering process
  • Reduce masking of overlapping frequencies between instruments by sidechaining (description further down in document).

First a brief description of common compression parameters (Note: The 'Deluxe Comp' on the Helix has all these settings):
Note: On some simple, for example two knob compressors, two or more of these parameters' functions may be collapsed into one knob. For example, turning up the ratio may simultaneously turn down the threshold. (contributor: njglover)

  • Threshold is how loud your signal has to get before the compression kicks in. This is essential because you may not want your entire signal to be compressed. Some units have no threshold knob- for them, the threshold may be "fixed" and can only be adjusted by changing the input level of your signal. In other words, increasing the level of your signal by turning up the guitar volume or adding a pedal with a boost, etc. before your signal goes into the compressor. Alternatively on some two-knob compressors, as mentioned above, turning the compression knob may simultaneously raise the ratio and lower the threshold.

    Ratio is how much your signal gets compressed once it passes the threshold. Ratios are figured in decibels (dB); a dB is a unit of how much a signal increases or decreases relative to where it started. With a ratio of 4:1 for example, the idea is that for every 4 dB your signal goes over the threshold, the output level will only go up by 1 dB. Generally, ratios of 2:1 to 4:1 are considered light or moderate compression, and ratios of 10:1 or higher are considered heavy compression or limiting. A hard "brick wall" limiter has a ratio of infinity:1, meaning that once your signal crosses the threshold, the output will not increase more than 1 dB no matter how high the input signal spikes.

    Attack controls how quickly the compression reacts to your signal, and Release controls how long it takes to "let up" and stop compressing after it's triggered. These controls are interactive, and the right settings for them will vary depending on the music and your playing style. You'll have to experiment, but for some compressors (not all) a decent rule of thumb is to start with the attack and release knobs in their middle position, and adjust from there. Keep in mind that on most compressors the 'Attack' setting gets longer, aka slower as you turn the knob clockwise. That means when the knob is at its minimum, all the way counter-clockwise, the attack will be at its fastest(e.g. 1ms); this means that the compressor will almost immediately start applying compression to your signal. Somewhat counter intuitively too fast an attack setting on the compressor can actually squash your guitar's attack and dull the transients at the front of the picked note. Turn it all the way up and your attack will be its slowest setting with the compressor taking the longest time possible(e.g. 1000ms) to engage. "So the fastest attack will be the knob at 1, the slowest attack will be the knob at 10. (contributor: optimist)". Extreme min/max settings on either attack or release can cause pumping or breathing.

    Output Gain controls how much the volume of your signal is increased coming out of the comp, and this is necessary because compression lowers the overall average levels of your signal. Increase gain when using higher ratios and lower thresholds to maintain your output level. Almost all compressors have a booster at the end, which provides "makeup gain" to bring your signal back up to the level you want. This is what accounts for both the increase in audible sustain and harmonics, and also the increase in the noise floor.
  • Knee - Set on hard-knee, the compressor waits until the signal crosses the threshold, then it reduces the signal at the specified ratio for a punchy sound. With soft-knee compression, the ratio gradually increases as the signal approaches the threshold, resulting in a more natural feel and a wider dynamic range.


So here goes, some general information and tips on using compression in no particular order:
Note: Sometimes 'pick attack' or 'string attack' is mentioned in this document and refers to how fast or hard the string is being plucked. This is not the same as the 'attack' setting on the compressor although 'pick attack' may influence your choice of the compressor's 'attack' setting.

  • Use increased sensitivity(lower threshold) on slow attack times to make sure compressor engages.
  • Use a higher ratio for more pronounced compression.
  • The more compression (higher the ratio) the higher the makeup gain needs to be set.
  • Compression ratio and threshold are related, since both increasing the ratio and lowering the threshold will result in more compression being applied to the signal.
  • Use a fast release for faster return to normal level.
  • Tempo as well as string attack can profoundly affect compression. Set attack and release settings shorter for fast pick attack or fast tempo otherwise you may hear pumping or the compressor may not kick in properly and miss notes that are above the threshold you set and should have been compressed.
  • Slow attack times allow the transient and initial attack of the note to come through. Setting attack too fast/short may cause the initial attack on the string to be squashed and result in a loss of dynamics.
  • If release time is set too long, it may compress a quieter note that rapidly follows an above-the-threshold note. Medium release allows a quieter note that is below the threshold to not be compressed.
  • Longer release times can add sustain and sound more natural on acoustic instruments like the acoustic guitar where a note or chord may ring out for quite a while.


Pumping, breathing, and distortion:
Attack time settings affect the sound quality in terms of overall perceived brightness or high-frequency content. If you use very fast attack time settings, the compressor will activate very quickly, reducing gain instantly at the waveform level of the sound. However, too fast an attack or release can cause distortion or unwanted artifacts like pumping or breathing, particularly on bass or low notes as the attack and release are actually faster than the cycle(hz) of the note being played. Since transient information at the front or attack portion conveys brightness character, especially with percussive sounds, immediately reducing it with the compressor will dull the sound. Selecting a slower attack time will allow the transient portion of the sound to pass through before the compressor starts clamping. However, if the attack time is too slow, ineffective and tardy compressor action may result.

Low frequencies (e.g. bass guitar, detuned or just low guitar strings) can be distorted by too fast a release time. Super fast release times, along with a fast attack time setting, will distort low-frequency sounds, as the compressor is capable of gain change within the period (the 360-degree cycle of the lowest fundamental frequency) of the sound's waveform. Likewise, over-long release time settings are another form of distortion, since gain reduction is "stuck" clamping the sound down for an unnaturally long time period. "Pumping" and "breathing" are engineer jargon words for obvious compressor artifacts or side effects with maximum compression. Sudden and usually unwanted deep gain reduction is called pumping, while a slower return (release) to operating level with a noticeable rise of the noise floor is called breathing.

For a more transparent sound you may prefer a release time that has the shortest possible time that does not produce a "pumping" effect, caused by cyclic activation and deactivation of compression. These cycles make the dominant signal (normally the bass drum and bass guitar) also modulate the noise floor, producing a "breathing" effect. For more sustain you may opt for a longer release time.
As previously mentioned, fast release/attack times may create distortion, since they modify the waveform of low frequencies, which are slower. For instance, one cycle at 100 Hz lasts 10 ms, so that a 1 ms attack time has the time to alter the waveform, thereby generating distortion.

Compression settings especially for guitar:
This is an interesting blurb regarding the Rockman compressor. “The problem to solve, when you want to design a compressor for the guitar, is a double problem:

Act as a limiter during the first part of the note - a strong peak (think fast attack)
Act as a sustainor during the second part of the note - a slow decay” (think slow release)"

Side-bussing compression:
You can side-buss the compressor with an EQ block to selectively compress frequencies or provide both a direct signal and a compressed signal to the mix.

Sidechaining compression:
You can sidechain the compressor such that for instance a kick drum hit will momentarily compress the bass guitar in such a way as to reduce the masking of the kick-drum by certain frequencies in the bass guitar. Sidechaining is essentially used to cause the trigger instrument to cause another target instrument to be momentarily compressed.

Ringing out microphones and feedback in a system:
A compressor can be used to aid setting up a system when it is being ringed out, i.e. its main feedback frequencies are being removed with an equalizer or a feedback elimination type unit. The compressor will have a low threshold level and infinity-to-1 ratio with hard knee characteristics. With no signal present, we will gradually increase the volume until the first feedback frequency rings. The compressor will catch it and keep it at a constant safe level, making adjusting the equalization an easier task. The process will typically be repeated until the third or fourth feedback frequency has been ringed out.

Sample Compression settings (source citations needed):

First a great link for compression settings for various instruments:
Note: You may want to try an attack setting of 20ms-25ms or more for electric guitar. This will allow more of the initial transient of the guitar note through and make for a more articulated sound with better attack and dynamics. The recommended value of 7ms in this chart for electric guitar is fairly low although good for fast picking or catching and suppressing loud sudden peaks/jumps.

An interesting article on how to set different compressors

Helix 'LA Studio Comp' Parameters And Usage Tips
Note: The 'Mix' control as on most compressors can help by adding back in the initial pick attack as well as potentially brightness or tone to the signal by providing some of the uncompressed signal in your path, particularly on higher 'PeakReduc' settings.

PeakReduc - This will set the 'amount' of compression and also adjust the threshold (how high the input level, or the often related, how aggressive the pick attack needs to be, to trigger compression). These two parameters(ratio, threshold) are collapsed into this single control on the 'LA 2A'. The ratio control being the ratio of dbs being reduced you are used to seeing e.g. 2:1, 4:1 and threshold referring to what input level is required to trigger compression. I don't know how or even if the attack and release are figured into the PeakReduc when it is adjusted. The original 'LA 2A' analog compressor the 'LA Studio Comp' is based on did not have attack and release controls (similar to a two knob compressor pedal) but instead used the "combination of an electro-luminescent panel and a photo-cell to determine the attack and release characteristics of the LA-2A". I am not sure how Line6 modeled that circuitry but that is what would set the attack and release in the original effect.

Gain - This is referring to the 'makeup' gain knob you see on most compressors. Generally the higher you set the compression (PeakReduc) the more the signal will be reduced and the higher the 'Gain' will need to be set. "This control does not affect the compression. The gain control should be set after the desired amount of compression is determined using the Peak Reduction control. Once the Peak Reduction control is set, adjust the Gain Control to achieve the desired output level."

Emphasis - Use this to have more or less compression on the sparkly high end of your guitar signal. "The LA-2A was designed for use in broadcast applications. The audio signal in FM broadcasting undergoes pre-emphasis and results in a 17 dB boost at 15 KHz. Due to this increase in signal level, transmitters are subject to over-modulation. The LA-2A provides a control (R37) which controls the amount of high-frequency compression. This potentiometer is factory set for a “flat” side-chain response (clockwise). Increasing the resistance of this potentiometer by turning it counter clockwise will result in compression which is increasingly more sensitive to the higher frequencies." So, to put it another way, this large 17db bump at 15khz in the original  LA-2A compressor meant that they built in an 'Emphasis' parameter that kept compression flat across the frequency spectrum but allowed you to apply additional ("sidechain") compression to the high frequencies. I don't know exactly at which frequencies Line6 or the original effect applied that additional compression; on the original probably around 15khz as that is where FM broadcasting signals were boosted. It is worth noting that on the original device turning the 'Emphasis' control counter-clockwise actually increased the amount of compression applied to the high frequencies.

Type - This parameter will adjust the ratio settings used in the 'PeakReduc' parameter to much higher values, generally you will set this to 'Compress' for guitar. Setting it to 'Limit' will change a 2:1 ratio into for example a 10:1 ratio more ideal for limiter use.

A few sample settings for different instruments:

If you want to use a little compression to bring the electric guitar forward and give it some punch or sustain, try these settings:

Threshold: –1dB

Ratio: 2:1–3:1

Attack: 25–30 ms

Release: About 200 ms

Gain: Adjust so that the output level matches the input level. You don’t need much added gain.

To get a handle on the potential muddiness of the amplified bass guitar use a little compression. Compression can also help control uneven levels that result from overzealous or inexperienced bass players. Remember too fast an attack or release on bass because of the lower hz cycle can cause distortion as the compressor is cycling faster than the note. Try these settings for a start:

Threshold: –4dB

Ratio: 2.5:1–3:1

Attack: 40–50 ms

Release: About 180 ms

Gain: Adjust so that the output level matches the input level. You don’t need much added gain.

These are good settings for strummed or picked acoustic instruments:

Threshold: –6dB

Ratio: 3:1–4:1

Attack: Around 150 ms

Release: About 400 ms

Gain: Adjust so that the output level matches the input level. You don’t need much added gain.
The release is set very high because of the amount of sustain that acoustic instruments such as a guitar or dobro can have. If you play an instrument with less sustain, like a banjo or even a ukulele, you may find that a shorter attack and release work just fine.

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#164595 Anyone Else Underwhelmed?

Posted by radatats on 14 July 2016 - 07:21 PM

Yes.  Yes you are.

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#132721 New FW on the way

Posted by Digital_Igloo on 20 January 2016 - 07:17 AM

I agree with the question of why it's not being mentioned in here by L6.

DI or Phil???? Shouldn't those announcements be made here as well if not first?

Dunno. Line 6 has a lot of strict rules and guidelines regarding forum etiquette (which I routinely ignore at my peril), but none of us have anything close to "web ambassador" in our job descriptions, nor does Line 6 request much less expect much less require any of us to participate in any fashion. I jump all over the place (probably 30 or so sites—thanks, Google alerts!) and answer non-leading questions when they're asked. Other Line 6 product manager types avoid forum interaction like the plague; they're a lot smarter than I am.


Besides, if there's a single Helix thread that people read, it's the 18,345-post, 1,414,171-view behemoth on TGP. Trust that within minutes, any notable Helix news will find its way to the Line 6 forums, Facebook, YouTube, and forum.fractalaudio.com. In other cases, stuff is dropped here first and then finds its way elsewhere. This isn't The Washington Post; people don't get yelled at for losing a scoop to the LA Times.


Anyway, if it makes you all happy, here's a marginally juicy morsel, now that we're within spitting distance of NAMM: 1.06 will include 3 new amp models (all based on a single amp) and 9 new effects models.

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#70118 Version 1.9 Sound-alike Strat Bundle for Version 2.x

Posted by mdmayfield on 02 November 2014 - 08:55 AM

Hi all,


After a ton of tweaking, I am excited to share some Workbench HD models for JTV version 2.0/2.1 that sound as close as I could get to the 1.9 and earlier Strat models. The process was:


1) Plug in older firmware JTV

2) Record some riffs with a clean amp sound on the HD500's looper (leaving spaces of silence)

3) Swap to newer-firmware JTV

4) Record the same riffs on the looper into the silent spots

5) Listen without playing to compare (to be more objective)

6) Hit Undo

7) Tweak in Workbench

8) Repeat 4-7 until your ears fall off

9) Repeat 1-8 for all five switch positions


There were a lot of interesting tricks I learned while making these: changing string volumes, altering gain per pickup, choosing an unlikely pickup and/or body, changing potentiometer values, and "stacking" identical pickups in series to alter the tone. Some of those are techniques I saw in patches created by the folks on VGuitarForums (especially blueman), but the attached models themselves I made from scratch.


(If you don't see the attachment, remember to log in to the L6 forums.)


Hope it's useful - thanks,



Attached Files

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#59634 Brand-new HD500X ... huge volume differences between presets

Posted by Hi_Im_Matt on 22 July 2014 - 04:48 PM

I don't have the new X series, and I know nothing of the Variax. I have one of the older (dare I say "classic"?) POD HD 500's (which are apparently the same beast, with less memory) and my single largest complaint is volume disparity. Its been quite some time since I played with the built-in patches; I do, however, frequently play with my own patches adding and removing pedals, and  my single largest frustration there is the great difficulty in obtaining unity volume throughout the patch. Even changing an amp model on an existing patch can greatly vary it's volume.

But let me back up a bit.    You'll find many gripes about the volume disparity online, and many different approaches.  But before you jump to any conclusions quit yet, let me share some of my perspective with you.I say this as guy who has been playing this POD HD 500 for years in all manners, both on and off stage, and who also has a ridiculously, unnecessarily large collection of pedals ranging from old DOD and Boss to hand-crafted boutique pedals (the type where the fellow came to my house to debug my board):

-The POD HD is IMO a really good system, a great value and to me a valued asset. It is technology, and like all technology, it is not perfect.  The key is to understanding it's strengths and benefits, and understanding how to mitigate its weaknesses.  I am pretty happy with my HD now, but it took me a while to come to terms with it. 

-Built-in patches - just say NO. I have multiple digital systems, multiple keyboards and a full on synthesizer and without exception every single built in patch I've heard has completely displeased me and usually leaves me making disparaging remarks about teenagers attempting to "shred' on crappy equipment yet full volume in the middle of a crowded guitar shop.  Their sole purpose in my opinion is to demonstrate the extremes so that someone demoing the system in a store can quickly hear all the crazy sounds they are able to get out of it.  I honestly believe they intentionally build them to appeal to aforementioned "shredder kids".   Chances are, hopefully - you're going to play with the demo patches enough to learn how the system works, and  then quickly move on to making your own patches and developing your own sound. If you'e a 12 year old "shredder kid" my apologies, but please keep your in-store volume lower.

-Now, even when making your own patch, there's going to be challenges getting unity (or close to it ) when making changes to the patches.  This is a primordial source of frustration for me personally.  I start building a patch, get a nice clean going, add a gain pedal and it's like 20 db's louder ! What !? First of all- STAY CALM - this is easy to deal with if you follow a basic methodology of building yourself a template or "base patch" first, then copying it to the other banks.

- Remember too that there's actual volume, and there's perceived volume. Psychoacoustics are real, so doing things like measuring with a decibal meter doesn't help as much as using your ear carefully - assuming your ear is judicial enough.  Even a sublte EQ adjustment can change the perceived volume, particularly when working with a full band.

-Also, this is a multi-input, multi-output system. Different settings like the "line/amp" swich, the various settings for the 2 inputs will all make a difference in sound. Yes, there are loads and loads of settings and tweaks.  At first blush it's overwhelming, but relax, take your time, and it will all start making sense.  This is a community Support forum: It's a great place to ask quick questions for quick answers, but a bad place to get a deep understanding and education.  With some googling, you'll find several blogs that provide deep insight into the various settings, best practices (like the "4 Cable Method"), etc.

- I remember it took me quite a while to get used to this thing.  When I started using it, there wasn't quite the amount of online resources that there are now, and I had to do a lot of experimentation myself.  At first, honestly, I hated it.  The pedals all sounded like crap, the volume disparity was an impossibility (and is still a large source of frustration, frankly). But with time I tweaked and got it sounding better. I started using it at rehearsals, tweaked some more. Eventually I built up enough confidence in it to use it on a gig, but then went back to my pedals.  Then I'd try the digital again, back to pedals.  Eventually I decided I *really* wanted this POD thing to work for me, so I took out a couple of my pedal boards, and wired up probably a (expensive) collection of pedals including some classics. I put them on an A/B switch with the Line 6, and tweaked and tweaked until the two were indiscernable, and that's when it hit me:

- Defaults suck.  All defaults suck, on every digital music device I own. My Boss unit ? the defaults suck.They suck less than the Line 6 ones, but they still suck.  The defaults on my synthesizer ? Suck.   I had proven to myself that I can make my Line 6 sound like a collection of pedals with some tweaking, proof to me that:

-The POD will sound as good as you make it.  Your ear, your experience, your preference -> your sound.  There's no "sound awesome" button on it, but the potential is absolutely there waiting to be realized.  The interwebs are full of examples of amazing sounding guitar played through an HD 500.  Plenty of folks gig with it, plenty of folks record with it (guilty of both) and I'm guessing the majority of folks who disparage it haven't taken the  time to realize it's potential.  I'm sitting here telling you I gig this thing on a regular basis.

Now, full disclosure: I do still occasionally take a few analog pedals out with me.  Some have a magical element I can't reproduce, some aren't represented in the POD (like my POG2), and some just sound waaaay too unique on their own, and it's just easier to bring them when I want that sound, than try to reproduce it (like a certain fassel based wah I have that's just crazy phonetic sounding). But I increasingly evangelize digital to my player buddies for a variety of reasons:

- Analogue pedals can be notoriously unreliable in a working live scenario.  Each pedal has 1 power connection and two 1/4 connections, and two 1/4 cables just waiting to go bad.  Oh, and all those pots ?  I can't tell you how much time I've spent over the years cleaning pots, cleaning cable connections, repairing cables. My POD hd has all of the unreliable connections of a SINGLE pedal, but offers me the sound of my entire pedalboard. Ever accidentally knock your pedal with your foot and have it crackle ? or cutout ? It happens all the time, way more often than you would suspect.  ESPECIALLY during outdoor gigs ( at least to me)

- Setup time.  Even with a good pedal board, stuff gets bumped,knobs get moved, a cable gets disconnected.  Pedals need to be leveled, gains set to their desired places, etc. If you *don't* have a pedal board, now you're talking about individually plugging in a bunch or pedals.

-Saving your sound.   Speaks for itself.  Dial in during rehearsals, and replay on demand.  This is priceless to me.  Obviously  is pricesless to a lot of folks as the entire mixer console market more rapidly moves to digital.

-Playing direct.  I got to a gig once andmy amp had been damaged in transit.  No worries, I changed a few quick settings, threw an XLR into the POD HD, and gigged away.  Great benefit IMO. I had zero notice from anyone -not even the band (whom all had me clearly in their mon feeds) - literally noone knew or cared that I didn't have an amp.  It was so nice, no muss, no fuss, and sounded great.  I actually went ampless for a few months after that and basked in the glory of Less Crap To Haul.

So yeah, the default patches may have volume issues.  When you start building your own patches, you're going to have volume issues too - you'll learn easily enough how to work around those though.  I wouldn't jump to conclusions just yet, or get buyers remorse though.   It's a great piece of kit that you'll probably eventually love. It DOES have its warts like any gear, and you will find legitimate frustrations, but I wouldn't let the default patches be one. I would start playing with it, google, read, learn, and figure out how to make it yours.  Don't play default patches, OWN THAT BOARD !



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#109421 Podfarm, UX2, and Windows 10

Posted by syotani on 29 July 2015 - 01:54 PM

To get basic sound output on the UX2 in Windows 10 do this:





You can usually have 'allow exclusive mode' on, turn it off you experience any issues with certain apps.

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