All Activity

You are correct. Your license is yours, not attached to the device. The device allowed a discounted price which is now not available to the new owner.

Hi, before I raise a support ticket, just wanted to ask a question about selling my Line 6 Helix LT. When I bought this unit, I had a free copy of Helix Native plugin (that I still use with Ableton). If I sell my hardware, I'm assuming that I will be able to retain my licence for my Helix Native, as this was just an offer with the purchase and not inextricably linked to registered hardware? Can anyone answer this? Thanks

Resurrecting this as I'm in this similar scenario. Helix' outs going to the main desk/everyone's IEMs etc. Would love the Helix muted whilst I use headphones to continue editing sounds and not FOH constantly having to mute/unmute the Helix their end. Is this still not a possibility?

Reaper 7.15. MacOS 14.4.1. The same.

Interesting.

I have a Line 6 Spider V 30 MKII and frankly I'm very disappointed with it - at least for my purposes. I'm looking for very clean boost in the mids, and reduce the highs. It's a home modeling amp, true, and likely I set my expectations too high reading the promo marketing info. It seems the modeling adjustment sound muddy. On the other hand it produces fantastic distortion and the like. Someone, somewhere, I don't remember, talked a good upgrade was to replace the stock speaker. I've even heard with amp a speaker upgrade is nice fix. Example: I read the difference for one of the Fender vintage tube amps is it had JBL speakers. My question to the forum is it worth changing the speaker, and please suggest brand/model. I understand the more expensive Spider V's have a tweeter. Maybe a speaker with a mid range/tweeter crossover. I used to be into stuff like that but it been so long I don't remember much. I also have a Fender LT50 that I feel sounds better (not great), but the modeling capabilities don't compare to the 30 MKII. I may look at modding the LT50 instead and sell the Spider V 30 MKII.

Anytime! Always happy to share what I've figured out or learned from others. Just remember to keep it simple. Get your foundation amp tone and volume settled and move on from there. As I said, think about where you want to go. And remember as well, a button in stomp mode can be so much more than an on/off control. Well.....when you get to that point.

Hi, This issue was fixed in the v3.71 Firmware update back on January 10, 2024 that was entirely bug fixes, including the Tessellator and Glitch delay issue. 3.71—Delay > Tesselator could exhibit unexpected behavior in 3.70—FIXED 3.71—Adjusting the Delay > Glitch Delay block's Time parameter could sometimes result in muted audio or other unexpected audio behavior—FIXED Hope this helps/makes sense.

If it is something I really depended on all the time and it became buggy after an update I would just revert to a previous version of the firmware and wait for minor update that deals with the issue.

Hi, I have a technical issue regarding a certain setup with the POD Go. I have two amps: a Marshall JVM410 combo and a BOSS Katana Artist. I want to use the distortion of the Marshall, with the Katana mirroring what the Marshall is outputing, that is, using the Katana as a power amp. The reason behind using two amps is that I want to use time-based stereo effects on both amps. The stereo effects work with no problem as expected, but the problem is that the Katana doesn't "mirror" the signal from the Marshall. Instead, the sound comes clean through the Katana, while using the distortion on the Marshall. This is how I set it up: - Guitar to Guitar in of the POD Go. - POD Go Send to Marshall front Input. - Marshall Send to POD Go Return - POD Go L Main out to Marshall Return. - POD Go R Main out to Katana Return/Power amp inputs. In the POD Go preset: - I have the FX Loop Stereo block turned on. - I turned off Amp and Cab. Using the POD Go R Main out to the Katana Return produces the clean sound (no distortion), without outputing the FX Loop signal passed through the Marshall amp. Using the POD Go R Main out to the Katana Power amp input produces no sound at all. I don't know if I am doing something wrong. Is there something like a global setting which I have to turn on to output the signal passed and returning from the FX loop to another amp? Is it possible, or I am not understanding correctly how FX loop works? I appreciate your help.

These are really helpful recommendations. Thank you so much for taking the time!

I noticed the same issue. I also did a factory reset but I still get this descending pitch thing. Did line 6 fix the problem? I miss the old ratchet. Thanks

Wow, lots of really good comments here. Thanks. Just following up. So it sounds like there may have been slight differences and it was ALL in my head..... however, the bottom line is I am very very happy with what I have now. I absolutely love it. Just for background if anyone is interested, I play mainly my tele and can go from very clean to dirty clean to crunchy to more hairy overdrive (not metal but more warm bluesy full overdriven state). I used to use the Zed amp as a base and then have 3 stomps (one to up the amp drive and adjust volume, the Minataur(sp?), and either the Temo or the Compul drive. with the latest update, I started using the Clarity as a starting point. It is really clean and has a ton of headroom and stays clean. I then use combinations of stacking the Prize Drive, the Teemah! and the Horizon Drive to get the different levels of overdrive I need. it is great! at least for me! I also use snapshots to switch between modulation effects: Chorus, Trem, 145 Rotary, Script Mod Phase, and no modulation. I have those 5 snaps assigned to one footswitch so I can roll through each of those and turn on the one I need. I also have a snapshot that I use for spacey sounds which turns on the chorus, delay, and another reverb. I used the command center to assign that to a foot switch that rotated between the spacy and the clean. Unchecking the snapshot option on the drives and amp lets me keep my tone the same no matter the other snapshots. I am sure there are improvements, but this works great for me now and gives me a ton of options. Clar PzTH DD C .hlx

Hi, A few things to remember about the improvements in the Helix are, the main Core operating system of the Helix range of products was modified at version 2.80 of the firmware, and since that time many improvements have been made to the audio with almost every update since, including v.3.10 which included - Quote:- "Oversampling has been increased across the board, resulting in higher fidelity, fewer aliasing artifacts, and smoother decay trails, especially when running multiple distortion stages or with higher gain tones. Many people might not notice a difference, but those highly sensitive to aliasing will appreciate 3.10's smoother response. Amp and effects models have been optimized to accommodate these improvements without increasing DSP usage." Then at version 3.50 the new Cab Engine was introduced and brought in the option of movable microphone positions. Also in v3.60 a few of the 3.50 factory presets were updated to utilize 3.60 cabs where appropriate, and 3.70 added yet more updated cabinets. If you check the settings for the original (legacy) speaker cabinets you will find that the all default settings have Low Cut set at 80Hz and a High Cut at 8.0kHz and on all the new cabinets the default settings are 'Off". You might find your tones are made slightly warmer by rolling off some of the higher frequencies, as generally with a guitar speaker there is not much happening above 5 or 6kHz. These updates are not done on a whim, but are generally well researched and user asked for improvements, plus I have been using my Helix since late 2015 and I have no complaints - it just keeps getting better. Hope this helps/makes sense. Hallo, Ein paar Dinge, die Sie bei den Verbesserungen im Helix im Hinterkopf behalten sollten, sind, dass das Haupt-Core-Betriebssystem der Helix-Produktreihe in Version 2.80 der Firmware geändert wurde und seitdem mit fast jedem Update viele Verbesserungen am Audio vorgenommen wurden , einschließlich Version 3.10, die Folgendes enthielt: Zitat: „Das Oversampling wurde insgesamt erhöht, was zu einer höheren Wiedergabetreue, weniger Aliasing-Artefakten und weicheren Abklingspuren führt, insbesondere beim Betrieb mehrerer Verzerrungsstufen oder mit höheren Gain-Tönen. Vielen Leuten ist das vielleicht nicht so.“ Man merkt einen Unterschied, aber diejenigen, die sehr empfindlich auf Aliasing reagieren, werden die sanftere Reaktion von 3.10 zu schätzen wissen. Verstärker- und Effektmodelle wurden optimiert, um diese Verbesserungen zu berücksichtigen, ohne die DSP-Nutzung zu erhöhen. Dann wurde mit Version 3.50 die neue Cab Engine eingeführt und die Option beweglicher Mikrofonpositionen eingeführt. Außerdem wurden in Version 3.60 einige der 3.50-Werksvoreinstellungen aktualisiert, um gegebenenfalls 3.60-Boxen zu verwenden, und 3.70 fügte noch weitere aktualisierte Boxen hinzu. Wenn Sie die Einstellungen für die ursprünglichen (älteren) Lautsprecherboxen überprüfen, werden Sie feststellen, dass in allen Standardeinstellungen Low Cut auf 80 Hz und High Cut auf 8,0 kHz eingestellt ist und dass bei allen neuen Boxen die Standardeinstellungen „Off“ sind Möglicherweise werden Ihre Töne etwas wärmer, wenn einige der höheren Frequenzen abgeschwächt werden, da bei einem Gitarrenlautsprecher im Allgemeinen oberhalb von 5 oder 6 kHz nicht viel passiert. Diese Aktualisierungen erfolgen nicht aus einer Laune heraus, sondern sind im Allgemeinen gut recherchiert und werden von Benutzern um Verbesserungen gebeten. Außerdem verwende ich mein Helix seit Ende 2015 und ich habe keine Beschwerden – es wird einfach immer besser. Ich hoffe, das hilft/macht Sinn.

Just checked, necks for JTV-89 or JTV-89F,... none in stock.

I got that. I couldn't hear a clear difference in high end response - some notes on the old fw seemed sharper, some on the new - I didn't hear evidence that would hint at a difference in fw specific sound. If you'd have used the exact same test input for both fw versions the comparison would have much higher significance because that would exclude the human error i.e. hitting notes the exact same way. I'm totally open to accept the claim that fw versions sound different btw - I'm just not convinced. When you compare stuff make sure to exclude your bias. When you present evidence that isn't convincing to others your own confidence should go down. Producing good A/B comparisons isn't trivial or easy. As a thought experiment: How would you design a test that would be compelling to a skeptical guy like me?

The MIDI controller must be able to send a series of PC and CC messages with one button. E.g. snapshot 2 on preset 02A would need two MIDI messages: PC:003 followed by CC69:01. You don't need to come up with these values since they are displayed in the preset list menu on the device.

I don't believe the holes line up. Make sure you get one without the holes predrilled. Check this thread out. May not be easy to find for the 89.

Yeah, there were articles talking about the out of phase thing but they mostly had certain tone knob settings that supposedly worked. It was those articles that got me interested in this pursuit.

Place two Deluxe Reverbs amps (without cabs) in parallel with each other. Have one block loaded with the normal channel, and the other loaded with the vib channel. Load the cabinet separately after the merge block so it is shared. Sure... that means the power amp is not shared but that's really not that important. There is a reason for that. On most real BF/SF Fenders the two channels are out of phase with each other.... that made them impractical to jump without modding one of the channels so it never was very common. Real Marshalls didn't have that same problem so the jumped sound became part of Marshall's history.

Hi, thank you very much- I know that half of the success is to ask the question well, I'm getting there:) And yes, the MAX msp bit might have complicated my question- as the assignment for which I was asking may be done with any sort of assignable dial. I am looking into the link, I think this may be it- will update you once I make it work, hopefully this will be solved for me.

Hi, You might find some helpful extra information in this thread:- Hope this helps/makes sense.

Thanks for your advice, theElevators. Interesting approach. It’s like I played years ago using my 1 amp with cab + pedalboard. I play in a cover band and use - similarily to you - only 6 presets for our 90 songs with the following cabs/mics: 1x10 US Princess Mic: 67 Cond Clean + Dirty + ZZ Top Loudness: -7 dB 1x12 US Deluxe Mic: 57 Dyn RocknRoll Loudness: -4 dB 4x12 Greenback 25 Mic: 67 Cond Rock Loudness: -7 dB 4x12 Greenback 25 Mic: 57 Dyn ACDC Loudness: -4 dB The only ribbon mic with an appropriate volume level is the 160 Ribbon (-7 dB). The other ribbon mics are much too quiet (-11 up to -14 dB). The max cab level ends at +6 dB – so the level of all presets must be a adjusted. Depending on the number of presets this can become an annoying job. Some PodGo YouTube videos recommend ribbon mics so I tried them out. Unfortunately very disappointing.

I don't see any problems with what you want to do other than making sure you have a capable MIDI controller as MIDI controllers aren't always equal. Just do your homework and good luck.

The left input is tamed by 3dB when you use the right input. If you use the right input first then there is no change when you also plug a second instrument into the left input.