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  1. 4 points
    I can only think of one reason to scratch a serial number off anything. Two if it's a gun.....
  2. 4 points
    I've worked with these models a lot. I love all three of them and they are my favorite models in the Helix. Some tips: SLOs sound good with a lot of speakers but they love Vintage 30s.The 2x12 Interstate with 20 Dyn or 160 Ribn at 3.5" is the best Helix cab for that IMHO. SLOs get their sound from the preamp - it's master volume is designed to control volume not distortion. When you increase the master the top frequencies will stop getting louder at some point first - that's what some call the 'sweet spot', because it can add roundness and sustain, judge for yourself if that's what you want. I tend to keep things below that because the sound stays open and consistent below this 'sweet spot'. Soldanos go to 11! A knob at 5 on the SLO is a 4.5 on the Helix. [5.0 * 10 / 11 =4.54] The starting point for Clean and Crunch should be Bass, Mids, Treble, Presence at 4.5, Master at 3. The starting point for Lead IMHO is Bass and Presence at 4.5, Mids and Treble at 6.3, Master at 3. It loves the Stupor OD. I like it with Drive 3, Tone 2.7, Level 5 and I reduce the Mids on the amp for that. A Teemah! can push the Crunch channel to sound close to the Lead channel. The Clean channel is the a tamed version of Crunch channel so you can use Crunch with low Drive and high Master as Clean without hesitation. Combine that and you can stuff all 3 SLO channels in a preset using snapshots [EDIT] SLO's nowerdays have a Depth control, because that was a common mod on the original ones to fatten the sound. To simulate use a Low Shelf and start with +3.5dB at 800Hz. This will make a huge difference and the amp will sound a lot more balanced and modern. I spoke with an owner of a SLO some years ago who played in a Dire Straits cover band. He used the SLO's clean channel with pretty much everything at noon and a Marshall 4x12 V30's cab live and sounded absolutely wonderful. - The Helix nails that sound.
  3. 3 points
    Prior to the Helix, Line 6 used to provide a "model gallery" that was often insightful and humorous at the same time. HelixHelp.com (already mentioned above is a great resource.....) Also - I found this old thread from 2016 quite interesting when I first got my Helix. This covers the early amps, then the release notes for each update covers the new ones incrementally. https://line6.com/support/topic/19961-helix-amp-model-gallery-real-controls-vs-invented/ The Helix controls are quite good at simulating the "real thing"... so when you want to know how a product works, you can always look up a video of the real product. EG: If you don't know how the RAT pedals work, go watch a video about the RAT - then apply it to the Helix. If you don't know how the Dr Z Route 66 Amp works, go watch a video on using a real Route 66. Don't worry about not knowing it all too quickly. Get what you NEED in place, then take your time on this wonderful journey.
  4. 2 points
    A quick fix would be to only use the left output of the Helix, either the left xlr or the left 1/4 inch. If you don't have a cable plugged into the matching right channel output, the signal is summed to mono. Good luck!
  5. 2 points
    If you use the LT’s USB audio, you can use USB7 for the unprocessed dry signal. It’s much easier than doing with an ABY box.
  6. 2 points
    At first: Yes, I have tried to run the headphone out through some typical monitors (thinking it might come in handy to have another analog output level control available) and while, as @codamedia already mentioned, leveling is at least tricky and has a certain potential to damage the input stages of the following device, it does sound exactly the same as the other outputs. So there's no extra mojo happening on the HP out. Just to get that out of the way. However, as this seems to somewhat go in circles: @Paulzx, it should by now be pretty clear that your experiences are a result of you liking what's likely a less than ideal listening device. Fact is, the Helix modeling hasn't been crafted using things such as earphones. It has certainly been tested with all other kinds of output devices, though - so it was programmed in a way it'd sound good/great/decent when being used through those rather than through earbuds. Why and in what way your earphones affect the sound so you like it more - tough to know what it might be (in addition to a certain loudness-alike coloration, some of these earphones also somewhat compress the sound, likely due to the small size of their membranes, but I wouldn't exactly happen to know). It could as well be your ears perceiving things in a different way. Anyhow, as you seem to like the sound of some sound demos (that you apparently listened to using other devices than just your earphones), it's pretty clear to me that your earphones aren't the only important things in this equation. And we could possibly speculate about those things until the cows come home. Maybe it's your listening devices, maybe it's your playing, maybe it's your patch programming skills (no offense meant), maybe the Helix just isn't for you, maybe modelers aren't for you (unless you play them through earbuds), etc. All kinds of possible explanations have been elaborated in this thread by now (and they're all pretty valid, AFAICS). At this point of the discussion, the only thing that might take us a little further would be a sample patch that people could possibly evaluate. Ideally along with a little audio clip (simply because the guitar type and playing style have a huge influence on the overall tone) and a description/comparison of what kinda sound you have in mind. Alternatively, you might want to record/loop something, listen to it through whatever devices you have at your disposal and fool around with EQs until the sound is getting closer to your earbud experience. In the end, all your earbuds are likely doing is some frequency coloration and *maybe* some compression (plus the fact that your listening "position" is fundamentally different, but no other monitors than headphones will adress that issue). This should be recreatable using an EQ (and maybe some compressor/limiter). But only you would be able to do so because only you can listen through your earbuds the way you do. Anything else is not taking this discussion much further, if at all. Oh well, you could of course nag Line 6 to come up with some "earbuds mojo" block in a future update.
  7. 2 points
    I am going to provide how I would do it on my Helix LT... I'm sure it is very similar on a stomp, and if I am wrong hopefully someone will correct me. I'm going to do this through HX Edit, as it is likely more "uniform" than trying to explain it through a different device. This is my preferred method..... the Merge Block Connect to the preset through HX Edit.... Click on the MERGE BLOCK (the node where path B returns to path A) Right Click on "B Level" and assign it to a footswitch of your choice Now go to "bypass / controller assign" Highlight the "mixer > b level" assignment Set the MIN Level to -60 (the lowest it will go) Set the MAX Level to 0 Now the footswitch you assigned will act like it is turning Path B on & off by turning the Return Level of Path B up and down. NOTE: You could also assign the EQ and Ptich to that same footswitch, but I think that would be redundant. To do this using the SPLIT Block.... you can try this. Connect to the preset through HX Edit.... Click on the SPLIT BLOCK (the node where path A splits off to Path B) Set the Split to "Split A/B" Right Click on "Route to" and assign it to a footswitch or your choice Now to to "bypass / controller assign" Highlight the "Split A/B > Route To" assignment Set the MIN Level to "A 100" (only A path) Set the MAX Level to "Even Split" (this sends equal amounts to both Path A and Path B) Now the footswitch you assigned will act like it is turning Path B on & off by turning the SEND Level of Path B up and down. Hopefully that works with the Stomp & Stomp XL like it does on my LT.
  8. 2 points
    When I hear some isolated guitar tracks from recordings I'm usually surprised at how much "fizz" is often there. I also find that when I prep a tone at home I hear the artifacts I don't like but they serve a purpose in a live situation and help the guitar cut through. Perfect, sweet tones are not always the answer :) That said, I hate fizz and tend to try and get rid of it myself. This is my experience, YMMV. Presence often adds more fizz than treble so I will tend to use treble to shape the tone, and add presence only as needed. Stay away with anything with a bright cap..... If using IR's, lean toward the ones with the mic position "off center"... FWIW I usually prefer a position about half way between center and edge. The center of a speaker is "all fizz" to my ears. Ditch the big EQ's and go simple. Add the TILT EQ after the cab/IR block, then dial it back toward the dark setting. It's actually a fairly subtle EQ, so don't be afraid to get aggressive if required. Throw the "Rochester Comp" near the end of the chain... anywhere after the cab/IR. The default setting is really loud so you might need to turn the output level of the compressor down... then set the gain reduction so it is barely coming on. This is a great studio style compressor that adds some magic sauce to the signal, and really tames artifacts such as fizz. * Disclaimer: I am not a high gain player so our experiences with fizz might be quite different.
  9. 2 points
    We all here understand you position regarding the Firehawk vs the Helix boards support and development and we understand that if we would like a better performance board we can always upgrade to Helix and such. Nevertheless you, Line 6, still owe us a RELIABLE equipment which, up to this date, has a lot of reported BUGS. I am not complaining in what is the Firehawk capable to do, because I am satisfied with that, but about the Bluetooth disconnections, the “freeze” boards, the lack of firmware and app updates, the cloud errors, the looper improper performance, etc All of the things mentions before are supposed to be “strong” advantages of the Firehawk against its competitors because, please have in minds, your competitors ARE supporting their new and previous equipments continuously. If you need and example, check the Headrush, Fractal and Boss products. Throw us a bone here! I’ve previously suggested that if the support for the Firehawk is over, let us have an open source code option, there might be capable people interested in developing a PC/Mac based interface or such. Believe me, I like the Firehawk very much and I think I don’t need anything else for my musical needs, but I’m also sure that there’s still many potential that can be brought out of it, allow us to explore it and explode it! Thank you. Noe G.
  10. 2 points
    It's called a MIDI feedback loop. Two devices sending each other messages that trigger return messages that trigger return messages.....eventually there's a buffer overrun or some such geeky thing and one or both units freak out. Use a MIDI Monitor to make sure that when you send a message, the receiving device doesn't send back a message that triggers another message.
  11. 2 points
    The vast majority of players are probably playing one guitar, really… Which is probably why it hasn’t come up more often. I have seen this issue mentioned a couple times since the Helix has been out, though. I mean, you can always bend down and turn the knob to switch the setting on the tuner for now. I understand it’s not ideal, though. Having the tuner settings saved per preset would be a nice option.
  12. 2 points
    The ability to label multiple bypasses/controls would be a decent trade off to having an additional block. If I could tweak 5 different amp/cab/EQ settings and assign it to a footswitch labeled LEAD or DRIVE rather than MULTIPLE, I could bypass a distortion/OD block altogether. And labeling Snapshots would also be great.
  13. 1 point
    To answer your question: Yes, there is a way to stop it from doing this. You can just set the Helix to "Preset Spillover", which is done in your global settings under "Preferences". You just need to know that you'd sacrifice one full signal path for it to work. The reason behind being that the 2 signal paths also represent the two processors of the Helix. Now, in spillover mode, one processor will "prepare" the following patch in the background and the actual switch will only take place once it's ready. Works a treat - but as said, you'd completely lose one half of the available CPU power all throughout (IMO it'd be cool if this could be a patch based setting, but maybe that'd be too confusing and a tough technical challenge).
  14. 1 point
    Are we really talking snapshots here? I mean, why would you create two identical snapshots within one patch?
  15. 1 point
    There shouldn’t be any dropout between snapshots, but I’d need to understand more on how you have each head connected to actually guess as to what’s going on.
  16. 1 point
    True enough. When I first got my Helix I was a little bit lost in the complexity of it so I took a shortcut and bought a small package from Glen Delaune, maybe his first one and I was required to tweak those presets by quite a lot before I could use them but I did not feel it was a complete loss because his custom made artist specific IRs were quite useful and I learned a lot just from studying how he does things. I also learned from him a few things not to do as well but I'm still glad I did it. Different people measure value different ways.
  17. 1 point
    I had Electronic Projects For Musicians. Another great book if you want to rewire your guitar is Guitar Electronics for Musician by Donald Brosnac. I got it when it was just called Guitar Electronics. It's falling apart. Rewired my SG so I could have my two humbuckers wired in any configuration using three 4 pole six throw switches with this book. I don't even know if they make those switches anymore let alone the ones that fit in an SG.
  18. 1 point
    This came up back in January in respect of Logic Pro and HX Edit. As GarageBand is the little brother of Logic then I would guess the same things apply (I need to double check this). This was my reply to the issue with Logic question. ”You will have noticed how Logic Pro takes control of your HX Stomp if you use it as an audio interface. HX Edit doesn’t like anything else running on USB at the same time and while you’re using HX Edit it can suddenly disconnect if it loses focus on the hardware. That is, for example, if you have HX Edit open and then spend several minutes messing around in Logic, when you go back the connection is gone”. It has been commented on in these forums for quite a while about HX Edit losing focus on some Macs - (you didn’t mention what model and OS you’re using). While you are editing a preset, should you decide to answer an email, when you click back onto the HX Edit the message pops up that the USB connection is lost. It can also lose the connection if you run iTunes in the background. Annoying, but just one of the many bits of USB voodoo, especially on Macs. I have my Helix floor constantly hooked up to my Mac via USB into Logic Pro and don’t seem to suffer from the sort of issues that many others appear to have. Don’t know why - maybe I am living on a ley line? There again, I usually don’t edit patches on the fly, but I also have Helix Native as a plug-in, which is like having a full Helix and HX Edit inside the DAW. I also have GarageBand, among many other DAWs, that I use for troubleshooting odd problems. I will have another look to see if this is still the case and post back later, as l am not in the studio for another few hours. In the meantime - simple solution, edit using your hardware HX Stomp or run HX Native in Logic Pro X or GarageBand. Another option - use a Windows PC, as “rd2rk” Hope this helps/makes sense. EDIT (4 HOURS LATER): SCRUB ALL MY EARLIER COMMENT - IT WORKS! O.K. here's GarageBand v.10.3.5 running on an iMac (Retina 5K - 27inch - 3.3GHz Intel Core i5 - 32GB RAM - OSX 10.13.6 High Sierra) switching back and forth with HX Edit v3.11 connected via USB to a Helix Floor for both recording and playback. Didn't bother with the audio on this video because it is to simply show that it is possible to have both software items running at the same time. No apparent issues - unless of course you are running something different.
  19. 1 point
    To follow up my most useless post ever, I think it was E&M ELECTRONIC SERV. LTD BLETCHLEY
  20. 1 point
    Don't feel bad...nobody's asking me to play Madison Square Garden, either...;)
  21. 1 point
    This is again comes down to the same old problem of thinking that "flat response" is somehow a standard that crosses the boundaries between all applications, which couldn't be further from the truth. I myself use a pair of HS7 speakers in my studio, but I NEVER dial in my live performance tones using them. That's because they're made for a different purpose than a live performance modern powered speaker such as a QSC K.2 series or a Yamaha DXR series which is what I use for dialing in live sounds. And they're different because they're designed to be different because they serve two different situations. Studio speakers are designed for evaluation of a sound or mix and require (by design) a very precise listening environment to be effective in which the speakers and the listener are positioned correctly in an equilateral triangle and the speakers themselves are positioned appropriately relative to surrounding walls as they often depend on bass reflex actions to provide an accurate representation of low end frequencies. Live sound is concerned with covering a wide and long space with a consistent sound regardless of where the listener is positioned. Very low end frequencies are boosted through the use of subwoofers (which all operate well below the frequency levels your typical guitar produces). What this means in a practical sense is you shouldn't be surprised if you dial in your tone on studio monitors and then plug into a PA that's using modern PA powered speakers. There are differences because there are SUPPOSED to be differences. If you really want to evaluate the way your tones will sound in a live environment the quickest and easiest way is to plug your Helix direct into a modern live powered speaker meant for that purpose and listen to it in the way that people in the audience will be listening to it. In effect, at longer distances and off-axis around the room and at a reasonably higher volume levels probably around 85 to 90 dbSPL. THAT, or something very near to that, is what your audience will hear in your live performance. And that, oh by the way, may be different from your stage sound depending on what your live setup consists of. That's one key reason people choose to go direct to the mixing board and monitor either through high quality powered monitors or in ears. It reduces the complexity and increases the consistency of your sound both on and off stage.
  22. 1 point
    No, no way to do that. What you can do is save a customized version of any FX block as a Favorite and use that copy when adding the FX block to a preset. But later changes must be made individually in each preset. Change the Favorite version first and then replace each of the existing blocks with the modified Favorite.
  23. 1 point
    Here ya go - Fleabay - from the USA but cheaper. https://www.ebay.co.uk/itm/224163403400?chn=ps&norover=1&mkevt=1&mkrid=710-134428-41853-0&mkcid=2&itemid=224163403400&targetid=1280075232379&device=c&mktype=pla&googleloc=9046330&poi=&campaignid=9441192411&mkgroupid=123206633912&rlsatarget=pla-1280075232379&abcId=578896&merchantid=115666683&gclid=Cj0KCQjw-4SLBhCVARIsACrhWLVufpgJMlCUgl6lwtmNazOms09ChfZ4_EeA9jCeMQb0tZSJRnv2BOoaAqhZEALw_wcB or Full Compass in USA - No idea about shipping costs to U.K. https://www.fullcompass.com/prod/525522-line-6-30-45-0053-volume-knob-for-helix Hope this helps/makes sense.
  24. 1 point
    There are more ways to adjust these things than room in this forum to list them. In short as far as what the Helix controls, your amp EQ controls are your first level immediately followed by your choice in cabinets, mics and mic placements. Of course before that comes your settings on your guitar such as which pickups are being used and your volume and tone controls. 90% of your tone depends on those settings, and you have ample other EQ blocks to make any final tweaks. But if you don't have those first level EQ components correct, you can play all day with other EQ pieces and never get it right. I can only tell you that after setting up the guitar and amp/cab/ selection I'm not satisfied with the tone I'll first go back and audition different cab and mic setups till I find something I like better. From there it's just a matter of making some very minor tweaks with a parametric EQ at the end of the signal chain, or in some cases a low/high shelf block following the cabinet to adjust the levels between overall highs and lows. Most of this kind of stuff is covered very completely in Jason Sadites YouTube videos which I'd suggest you spend some time with to get a feel for how to set them up.
  25. 1 point
  26. 1 point
    I can’t decide which one I liked better in the mix.
  27. 1 point
    If lows aren't there all is left is highs and highs alone are harsh.Or in other words too much above 1kHz is synonymous with not enough below Make sure the PA sounds balanced as well as your presets. Also mind the Fletcher Munson effect. Btw it's the same with headphones: a preset sounds right on one , on the next bass heavy, on the next harsh, on the next honky and so on.
  28. 1 point
    I think your mix is set to 100% on the merge. click where chain 2 merges to chain 1 at the end...isn't there a mix for summing the chains there?....basically, you need a 50:50 mix...probably dimed cutting out chain 1
  29. 1 point
    Sorry but no. It all depends on whether it's either a non-linear or timebased (or modulating - but that's pretty much timebased, too) effect. With non-linear effects, the order is pretty important. Example: two different drive blocks will sound fundamentally different in A->B or B->A order. With time based effects, most often the order is pretty noticeable. Example: A reverbed delay sounds different from a delayed reverb. Same goes for two different delays or reverbs in series. The high end however is completely irrelevant in this equation. Two EQs in series will sound 100% identical, regardless of their settings. As a result, in a serial chain of linear effects (and non-dynamic delays and reverbs are linear effects) you can place an EQ anywhere you like - and the cab block in this example does serve merely as an EQ block. Now - and I've said so already: Once you push the timebased portion of a cab block a bit more, things will get more noticeable. Obviously, you can do so by dialing in some early reflections. In this case, the cab block also acts like a "mini reverb/delay" (in addition to the EQ duties) and as a result of that, the order will become slightly more important - I doubt anyone would be able to tell just by their ears, though (I would happily supply some audio examples, in case someone wants to check).
  30. 1 point
    I think, the answer is "no", there's simply no option for that inside the Command Center. Your best bet would likely be to have a look whether the receiving unit would possibly support translating other messages into "program up/down".
  31. 1 point
    Well it's nice that they seem to have addressed the issue...still a little annoyed that I'll have to drop another $100 to get back the device I originally purchased. Oh well... life goes on.
  32. 1 point
    Yeah, you gotta find what works best for you. I would just say consider two things about the FM3 before buying. I thought three foot switches on the FM3 would be enough if you can control different pedals in different presets in stomp mode, set per preset (programmable like Helix)…. You can’t (at least no way I can find)!!!!!! THEY ARE GLOBAL meaning when you set Stomp 1 to “drive 1” in stomp mode it is always drive 1, even if you don’t have a drive pedal on that preset… that stomp then becomes useless when in Stomp mode for some presets. With the FM9 many people set it so the top right three stomps jump between presets, stomp mode, and scenes with the bottom six then controlling variables in each each (very similar to Helix setup which is awesome). Also, FM9 can do two amps. Just one amp on the FM3 absolutely sounds amazing with the quality and is truly enough, but a two amp setup sometimes can work wonders for tone and sound. I find that on the Helix, all of the best preset files I’ve downloaded from others online all had a two amp setup, with each amp panned hard to the opposite side. I’m looking forward to trying that on theFM9. Again, everyone has different needs, so the FM3 could be the best for you, just things to consider….. Best of luck on your choosing.
  33. 1 point
    Really? Are you serious? Start here! Then find a witch doctor or someone who understands the voodoo involved with USB, or click on question mark in the black dot in the lower right hand corner of this page and follow the link named “USB Connection Issues” under the Common Product FAQ heading. Hope this helps/makes sense.
  34. 1 point
    4 Cables will get you MONO, 5 will get you Stereo. Do everything a 4CM tutorial will suggest but instead of a single cable going from the LT output to the Amp return, you need to run both the LEFT/RIGHT outputs on the Helix to the LEFT/RIGHT Returns on the amp.
  35. 1 point
    I’m going to suggest there are better pedals. brass players often find doubling and harmony effects very useful, and these are not Helix’s best attributes. there are other digital devices out there for vocals and brass that offer more of that stuff along with chorus, flange, delay and reverb and some do distortion and wah too. But their main thing is they are built for a mic input and enhancing that type of stuff.
  36. 1 point
    Oh, no - he will be back again now with another whinging complaint about trolling. For all his pi$$ing and moaning about MIDI CC needing to be referenced to the Command Centre section, he never noticed that the original response from “phil_m” specifically pointed him to the use of Command Centre as the real solution. Jeez, even if you lead people by the nose to the thing they need - they can still miss it by a mile. There are none so blind as those who will not see!
  37. 1 point
    I have a $22 6ft Radio Shack (wasn't long enough), and a $20 10ft C2G from Amazon. They both work fine. If I was buying today, I'd get this: AmazonSmile: 12 Foot SPDIF Cable – Gotham GAC-1 S/PDIF-Pro (Ultrablue) High-End Silver Plated LCOFC Digital Audio Interconnect Cable & Amphenol ACPR-SRD Gold RCA Plugs - Custom Made by WORLDS BEST CABLES : Electronics $24. Don't pay $40 for a 6ft cable. Unless you think that a $60 10ft Mogami guitar cable sounds better than a $20 10ft Live Wire.
  38. 1 point
    Well, it's not a function of whether it's a hard thing to implement or not. It's a function of how many people would want the functionality and how it might drive influence or sales of units. One look through Ideascale and you'll see all sorts of things in there with very high approval numbers. That's your competition for getting the feature you want implemented. If your needs are somewhat particular or specialized to your situation you may not find a lot of people that crave to have a feature like that on their Helix. Even though I'm a multi-instrumentalist (electric gtr, acoustic, banjo, mandolin, resonator) I've never found this to be a problem. I simply move my wireless transmitter which just unplugs and plugs in if I need to tune something else and I tune everything before before the gig and seldom need to do much afterwards, so it's not a feature I'd be needing so much.
  39. 1 point
    That configuration no - my monitors in stereo is fin for studio use. For stage I use 2 PC+, generally each with a different amp/cab combination and some stereo effects of varying width. I play in a 3 piece its largely reverbs and delays to provide a more expansive sound. FoH takes a send from the XLRs and can choose to run them as 2 mono sends if required.
  40. 1 point
    Even with the Variax.... just put a compressor at the start of the path to help establish a consistent guitar signal - then try some of the synth blocks. That said... I find the Helix synth options to be sorely lacking at this time - I'm hoping future updates will give us more options, but I'm not counting on it.
  41. 1 point
    In my band, I have some mostly subtle stereo sound effects. Mainly, I use ping-pong delay on some songs that create 3D stereo sound. There are a few songs where I have hard-panned delay that is sync'ed up to the song so that I can harmonize with myself. I also (having watched Greta van Fleet rig rundown) have stereo-panning when using the wah for one part. There's also one song where at the end we all go crazy and I have a stutter sound with hard panning. I also find it is very effective to contrast the washy stereo sound with some dry mono sound for some songs, or even within the same song. If it's all washy and reverb'y, it gets tiring really fast IMO. How do I use the stereo sound? I simply give the sound person the left/right XLR cables so that the FOH can get stereo sound. On stage, I always play in mono using whatever is there: either my own FRFR or going into the power amp of an amp, just to hear myself. I think that stage stereo sound is unnecessary and may even throw me off, personally, so I use the left/mono plug to hear myself. At home, I have a pair of Yamaha monitors, where I dial in my sounds. When I practice at home, I play through these monitors in stereo.
  42. 1 point
    My method for noise gate adjustment is simple. With everything connected but playing nothing, turn the threshold up on the noise gate until the hiss goes away. Adjust the other parameters to taste. This is assuming you are using the gate that is always there in the Helix at the input or adding a noise gate block at the beginning of the chain.
  43. 1 point
    Works on mine. Since I never use the mic input, all the related settings are default, as they'd be after you did your factory reset. Assuming it's not your board (or whatever you plug the XLR into), because you've tested the mic directly connected to it, you may have a HW problem. Time to open that ticket. If you live somewhere that allows you to call support, I'd do that. The ticket process can be really frustrating for this kind of problem.
  44. 1 point
    oh my god you just saved my POD XT Live. It works nice (I had to search a bit to install java then it was ok). In the app, the link to customtone "online library" in the app does not work because the library does not have the same url (if you hit that button the app will crash). But you can go to line6 website and clik on customtone. There you select your hardware model (POD XT, XT Live, XT PRO...) and you can download more than 8000 tones (.l6t files) like funk, jazz, rock, metal and so much more. You can copy those files to your "downloaded tones" folder and copy them to your device. For me that folder was in "Documents\Line 6\Tones\Line 6 Edit\Downloaded Tones" Do not forget to install the line6 usb driver and line6 monkey from line6 website prior to install line 6 edit . nb2 : I had to reboot the PC after install otherwise the program had a strange behaviour (keyboard input impossible ...).
  45. 1 point
    BigJ2021, "... what happened to rackvax? " --- A third party made a few and wanted Line 6 to support it, which meant servicing would have ended up on my bench as they didn't have the infrastructure for servicing them, just building some,... and probably not enough of them. Was more involved than anyone wanted, so they stopped it and moved on to something else. Not that I would have minded service them, but I already had then and still have a full plate of product to service. Scott,... Triple Play, nice touch.
  46. 1 point
    I've added a Fishman TriplePlay guitar synth pickup and wireless controller to my Ibanez SZ520QML JTV-59 transplant. It is now my go to instrument for recording, and the controller perfectly covers up the through body stringing holes behind the bridge (see the photo back a few posts for reference.)
  47. 1 point
    On the HX Effects, go to Global Settings>MIDI/Tempo>MIDI PC Tx and set it to Off. This turns off the default PC message that’s sent when you select a preset.
  48. 1 point
    Thanks. There’s also this. https://helixhelp.com/models/
  49. 1 point
    *****I RESOLVED THE ISSUE WITH THE SD CARD**** First and foremost a BIG shout out to all who have posted on this blog. I called customer support at Line 6 and I have to say I was happy to see they did not try to rush me off the phone and they were concerned of my issue; but he said something that made me think and profound. He said the Spider Jam amp was "old technology". Just knowing that only a 2gb SD was the max you could us. I.e all ready told me that. However, regardless of the size of the SD card, if it's new it's to fast. My mom has SD cards from 2008-2010, all 512mb, 1gb ,and 2gb. That was the issue. 'old Technology" must be used. Kind of sucks knowing something so awesome I.e Spider Jam, is old technology and they did not continue it's awesomeness in other products except Pod's. Save all files to the SD as WAV. files. Use Switch Convertor by NCH Software to convert your files to MP3. (before downloading change from mono and select stereo and select amplify, then select convert. Then ITunes, the transfer to iPhone, then rock-n-roll, impress friends. To upload back tracks save them first as a Wav.file. I don't think the Spider Jam recognizes MP3 from an SD card like it should.
  50. 1 point
    No problem...This is fairly well known and documented in many articles...If it wasn't for Mathews, tubes would be way more expensive than they are now...He saved the Reflektor factory and put it in American hands. I do not know him, but I have followed this since the early 2000s when it all went down...
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