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  1. Past hour
  2. zolko60

    Helix Native on PC Sticks, Barebones, mini-PCs.

    The latency hardly depends on computer speed.
  3. jaamoe

    Ernie Ball

    I would agree.
  4. Today
  5. TLF2007

    Ernie Ball

    I have the VP Jr. ( 25K) Use it as an expression pedal for EXP 2 instead of using the toe switch. Works great. sweep resolution and feel is better than Helix built in foot pedal IMO.
  6. xmacvicar

    Experiments With Helix Master Volume Settings

    Ha. Ain't that the truth. Git my Helix. Spend 20 min in a patch. And 2 hours worried about big volume knob.
  7. xmacvicar

    Amp cross reference

    https://helixhelp.com/models/amps/guitar/
  8. BigJayBrian

    Fremen's Helix presets

    Happy birthday ;) I purchased your big pack and synth pack. I have 4 days off work starting tomorrow, this will be a fun weekend ! I saw you speaking about your "double whoooper cab" IR and would love to try it, but i have no real use of the "big pack add on" he is part off. Is there any way to get this IR as a standalone?
  9. enjalt

    Amp cross reference

    https://line6.com/data/6/0a06439c973a5787c415a0987/application/pdf/Helix 2.0 Owners Manual - Rev D - French .pdf p26
  10. Dwf2008

    Amp cross reference

    Is there a cross reference somewhere that identifies the real names of the amplifiers that are modeled by the helix? For example, if I wanted a Fender Princeton, which one should I choose? thanks
  11. Dwf2008

    Helix and other equipment

    I’m still trying to figure out how to connect all my equipment. I have a pc running cakewalk, band in a box, itunes, etc. There is a usb midi interface attached to the pc via a four port hub. Also attached to the hub is the helix, and a focusrite Scarlett 2i2. The output of the helix is plugged into the guitar input of a katana 50 amp. The output of the Scarlett is plugged into an 8 channel mixer. The output of the mixer is plugged into the aux input of the amp. A Roland drum machine is also plugged into the mixer. Cakewalk will record and play the helix properly. The inputs of the Scarlett pass through to the mixer ok but no sound comes out of the amp. Recording from the Scarlett was working but not now after I added the helix. The Scarlett shows up as a device in the cakewalk preferences but it is grayed out and cannot be selected. So I was wondering, can the Scarlett’s outputs be connected to the helix so its inputs can be captured by the daw and also be passed thru to the amp without being processed? Or, bottom line, what is the best way to hook all this up? There is also a midi keyboard and emu synth in the mix but they seem to be working ok. Thanks
  12. rd2rk

    HX Stomp and MIDI - some insights

    My KIA dreams about being a Ferrari!
  13. cruisinon2

    VDI wireless?

    You'll get the same answer everywhere...Line 6 divulges next to nothing, and those "in the know" can't/ won't/ don't talk. But if I had to guess, I'd say the answer is no. The one and only time anyone official showed up in here trying to gauge interest in a wireless VDI unit, the quoted price of $1000 was mostly scoffed at... there were a handful who seemed willing to pay the price of the guitar itself (or even more if you own a Standard) for a wireless, but most found it rather amusing. Don't hold your breath.
  14. Hey Guys, I get a lot of question about IR's (impulse responses) and how to use them or how I use them. So today I hit on 3 key topics to help explain a bit about it. We touch briefly on what an IR is, where I prefer to get the ones I use and 1. Loading and Organizing 2. Mixing Mic's / Stacking of IR's and checking phase 3. IR overload (Having TOO MANY options) If you guys have any questions, drop a comment and I will do my best to answer them. Thanks so much for all the support. nickhillmakesmusic@gmail.com https://www.facebook.com/nickhillmakesmusic
  15. Yesterday
  16. “Lost in the mix” is an EQ and/or panning and / or volume problem, not digital vs analogue. If that mix was coming out of a venue PA then by the time it’s gotten to that PA, whether or not the sound origin was digital or not is pretty much irrelevant if the desk is digital. If two sounds are exactly the same then they’re exactly the same. If amps cut through the mix and modellers can’t cut it, why does every guitar forum have endless “how can I get my <insert amp or pedal> to cut better...” type threads?
  17. soundog

    HX Stomp and MIDI - some insights

    I wish mine did sometimes.
  18. sapete34

    Issue with PODHD PROX software seeing device using USB C

    Hey there! So I finally figured out. The issue is with the drivers. When you download the driver the system will prompt to restart the Mac. When the Mac rebooted, nothing would happen. As soon as the Mac restarts you need to go to system preferences > Security and privacy setting and in the window pane you should see the option to click "Allow" for the drivers to be installed. If you check this screen at any other time you will not see the option. Once I was able to get the drivers to install, everything else started working fine. I hope this helps.
  19. cruisinon2

    Experiments With Helix Master Volume Settings

    Amen. Any subtle nuances that one might notice playing unaccompanied whilst dialing in a patch vanish in a live mix anyway.... we all worry WAY too much about this $hit, lol. Play... have fun. Life is short. The gear I have now gives me the best, most consistent sound I've had in 25 years of doing this... I wish I had stuff this good when I was just getting started.
  20. bryaneason

    Issue with PODHD PROX software seeing device using USB C

    I am hav ing the same issue. Got the new mac. I have dowladed monkey, but when I plug in the pod, it does not bring up the HD 500 icon that I use to see on the other computer. Cn I call and ask someone? Or does nyone have the solution?
  21. cruisinon2

    Musings on Helix after 2 years of use (non gigging guitarist)

    I'm sorry, but a 2 second appraisal and eye-roll from the local music store "rock star" isn't worth two wet farts. I've met that guy a thousand times over the years... and if you're impressed by that sort of a$$hat, I don't know what to tell ya. If he's that wonderful, what's he doing jockeying the counter at a music store? Nevermind...I know the answer. What exactly do you think this proves? I mean other than the fact that the guy's a d1ck....There are plenty of pros and amateurs alike who get excellent results with modelers from various manufacturers. They're not hard to find... youtube is drowning in them. Numerous live acts have embraced the whole "quiet stage" thing. It's everywhere. If they all sounded like $hit, nobody would use them, and the whole guitar playing community didn't suddenly go deaf. You either know how to use the gear, or you don't. But it certainly is easier to blame the box isn't it?
  22. Rocco_Crocco

    Ernie Ball

    You have to create a volume block in your signal chain and assign that block to be controlled by exp 2. Same with a wah... place the wah block in the signal chain and assign it to be controlled by exp 2.
  23. DunedinDragon

    Musings on Helix after 2 years of use (non gigging guitarist)

    It may have but he really didn't go into the setup of the output with the Fractal i.e. into 4cm, into FRFR speaker, though IEMs or stage monitors. How exactly did he "match" that sound exactly? Nor was he very specific about how he got the sound. We just have to take his word for it and bow in homage to his expertise. You have to excuse me but I've been around these kind of guys since the '70s so I tend to be a bit skeptical about their broad "expert" statements and their overrating of their ability to distinguish differences due to their "golden ears" that us common folk just simply don't have. The most telling statement was when he gushed all over about the sound of a good tube amp over any modeler as if that's the sound he's presenting to the audience. When most of us know what he's presenting to the audience is a mic capture of that sound, not the tube amp sound, but he assumes we're all to stupid to understand that. And if he loses the modeled sound in the mix there's a big problem with either his skills at the board or his skills at the modeler..or both. My opinion is that since the late 90's and especially over the past few years technology leaps not only in modeling but in many other instruments and technical leaps in sound reinforcement gear have made the "magic" and value they used to provide accessible to everyday musicians, so they're desperate to prove they've still got some value to offer. Case in point, these guys absolutely despise some of the new digital mixers that have advanced features like auto feedback detection and correction, auto room acoustic measurement and EQ setting, auto gain staging, and auto conference volume management. Things that they could only do are now done automatically for anyone that can push a button. Their response is always, "it's not as good as when it's done by trained ear, even if you poor schmucks can't hear the difference".
  24. HonestOpinion

    Experiments With Helix Master Volume Settings

    My experience has been similar. I just don't find enough of a difference to warrant not using my Master volume for on-the-fly stage monitor adjustments.
  25. DunedinDragon

    Experiments With Helix Master Volume Settings

    Quite honestly I've never felt my stage sound was any different from the FOH sound even when my Helix volume was at 11 o'clock. And I'm pretty familiar with it since I'm out front when we do our sound checks helping to gain stage and set mixes for the band using my wireless tablet typically from different areas of the venue. I figure if I'm not going to hear any qualitative difference between my sound through the DXR12 with my Helix volume at 11 o'clock and the sound coming through full signal through the XLR into two stacks of QSC KLA12 line arrays, I doubt anyone will ever hear the difference. However setting my Helix volume knob at 3 o'clock had nothing to do with that. It had to do with retaining the flexibility to adjust stage levels easily with the Helix volume knob while getting a better alignment of my signal level from the Helix with all the other instrument and voice levels of the other channels coming into the mixer...nothing at all to do with tone.
  26. HonestOpinion

    Experiments With Helix Master Volume Settings

    This post speaks to some of the inherent compromises demanded by an effort to get as close to stage volumes as possible when designing presets. There can often be a substantial difference in a preset's tone when it is played at low or high volume due to the Fletcher Munson curve. Hence the common advice is to design the presets you intend to use for stage at a volume that is closer to stage levels than bedroom levels, making sure to use adequate ear protection. We still have to make compromises here though as few people are going to actually crank their presets up to actual performance levels while designing them. Many people find that band rehearsal can provide a final opportunity to tweak your presets at something more closely resembling performance levels. Similar compromises are required when you use your Master volume only for your onstage monitoring therefor sending the full Helix output to the FOH. Theoretically leaving your Master volume at max ensures the closest match between what you hear from your stage monitor and what the audience is hearing from the FOH. However the convenience of not having to reach around the back of an FRFR while you are performing to adjust the volume makes the Master volume perfect for that task although admittedly it may detract to some lesser or greater extent from how closely your stage monitoring matches the FOH. I find that ultimately balancing the demands of preset design and convenience for issues such as controlling my monitor volume onstage just inherently require some give and take. While I like knowing what the ideal scenario is and letting it guide my decisions as much as possible I find myself looking for the spaces in between that balance conflicting requirements.
  27. DunedinDragon

    Experiments With Helix Master Volume Settings

    Actually it's no different than what I was doing before. In practice I still have plenty of room to adjust my on stage volume level up or down using the Helix volume knob. I was keeping it at 11 o'clock by the way. Even then I've never encountered any situation that required me to turn the volume knob higher than 12 nor lower than around 9:30. So I still have ample room either way using the Helix volume knob and none of it will affect my signal to the board. Of course I'll have to adjust the individual levels in the patches to match the new settings, but that's not really that big of a deal.
  28. Just for fun I am building patches and trying different things out, like everything in front of amp, etc. Just going with it! I built a rush patch based on this: https://line6.com/data/6/0a0643891062357b640265ba84/application/pdf 1981 moving pictures type tone. I think I have it pretty good - what tricked me was switching between amps. The whole Path 1A is all the effects, into a Hiwatt. Using Snapshots, I turn this off and switch over to a Marshall tone on Path 2A. Where I am stuck, is playing a song like Limelight, where it would be awesome in the chorus ("living in the limelight, the universal dream") would be the blend in the hiwatt clean sound over the marshall sound. I know I'd prob have to use the vol. pedal for this, but that gets tricky when you are frantically going between snapshots to go back to a real clean tone, or a distorted tone. Any experts out there wanna help? Challenge accepted? File attached! Its setup in 4 stomp/4 snap mode. RUSH MOVING PICT.hlx
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