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Showing content with the highest reputation since 12/18/2020 in all areas

  1. 3 points
    If you haven't already seen it, Jason Sadites has a great video on this general topic of 'none of us having ever actually heard what our presets really sound like' It's well worth the 30min watch.
  2. 2 points
    If i understand you correctly, you are correct. themetallikid has your solution. I've known about this and it is sooooo cool. You can program any switch to do anything on a per patch basis. I think you can even program one to get you a beer! The robot is not provided so cost is an issue.
  3. 2 points
    With the input pad off, I felt that many amps were overly distorted at very low volume/drive settings (esp. non-master volume amps). Of course part of the challenge here is that the modelled volume / drive / master volume knob tapers may not match that of the original pots on the physical amp. With the input pad on, the dynamics, sensitivity and tone are a lot more realistic. The best way I can describe it is that the input pad on seems closer to the real experience and with it off, it's like there's a permanent +6dB boost always engaged (which can be good or bad depending on guitar/signal chain). At this point, the only way to further reduce signal is post AD converter with a gain block. I was asking if anyone else had tried that and what the results were - good or bad
  4. 1 point
    maybe they'll have it ready for Big Sur when the next OS comes out...
  5. 1 point
    The differences between A+D and B+C are probably pretty minimal. They're quite close to each other. You probably could hear a difference, but my guess is that it'd be so subtle it really doesn't matter. Who knows? Maybe someone with a Variax can use Workbench to emulate it and see how it sounds. :) One thing to keep in mind about "hot pickups" is that it's more than just volume from the pickups. You can always get a gain pedal (or add one to the chain in Helix) to increase the volume before the amp. But, hot pickups often distort the signal a little bit on their own just due to the nature of the pickup design. This results in some harmonics and tone characteristics that make it different than simply boosting the signal. In general, I'm not really one of those guys that worries about pickups much. IMHO, differences in pickups (of the same style, e.g. humbucker to humbucker or p90 to p90) are usually quite subtle. They differences they make are easily overridden by the signal chain, especially the cabinet and mic model. Even new vs dead strings are way more important than the pickups to me. IF I was going to concentrate on pickup selection it would be about trying to find ones that are more or less articulate. A hot pickup will "blend" the sound a bit more out of the guitar due to the previously mentioned distortion, while a less-hot pickup may be better at allowing you to hear each string a bit better. But hey, maybe I'm full of sh*t because I haven't gotten into swapping pickups.
  6. 1 point
    Dude, there is no universal truth for any of this stuff... not with how we perceive sound, see colors, or what a cheeseburger tastes like. Plus, guitar players are crazy... you'll never get 10 guitarists to all agree on anything. Perception is weird and fickle, can be influenced by everything from the weather to the pain in your left big toe. It's highly variable from one guy to next, and completely unpredictable. You might love how your rig sounds one day and hate it the next, having changed nothing in the interim but your socks.
  7. 1 point
    This post is intended to assist those that still require the aging Variax Workbench (original) on their Windows 10 machine in order to edit their first generation Variax guitars. Please note: You still need a variax interface or supporting device (XT Live, X3 Live, X3 Pro, HD500, HD Pro) in order to connect your Variax to the computer. The current installers on their own will throw errors or simply won't work... but it all has to do with the JAVA pointers in the installation. They simply don't "point" to the right locations anymore. Download an older 32 bit JAVA installation.... Visit this site... (note. This may change in time, don't count on it being here forever) https://www.oracle.com/ca-en/java/technologies/oracle-java-archive-downloads.html Click on the JAVA SE 6 link (you can try something higher if you want, but I know this one works which is why I mention it) Navigate to the "Windows x86" package and download it. Install this package Download 'Variax Workbench" from the Line 6 download area. Choose "Variax Workbench" from the SOFTWARE dropdown Choose "Windows 7" from the OS dropdown Click GO Now download version 1.75 for Windows Install the software, but uncheck the option to install JAVA Variax Workbench should now load.... and hopefully see your guitar if it is connected through a supporting device.
  8. 1 point
    My Amplifi 150 device is not working. Symptom = powers up and does nothing except showing 4 tone lights + dim representation of the bluetooth light. Volume knob renders nothing (no red indicator level lights). I have tried unsuccessfully doing a Factory Reset procedure (powering up while holding down volume knob and tone button) multiple times - with no luck. The amplifier just went out of warranty in December, so I can't take it in for repair without investing further in what has so far been a disappointing purchase. I tried opening a support ticket, but the Line6 system throws me into an endless loop (register profile + register product - both of which are done, but evidently not recognized for some reason by the support ticket workflow process). Most other posts on the forums indicate success at least with the Factory Reset, so I'm essentially stuck. Any ideas? PS - I'd be happy to work on a software/firmware update via direct connection, but my only available home devices are Mac OS or iOS platform.
  9. 1 point
    Hi I agree with brue58ski on the recommendation. Have been at bedroom player for some years now and went for the Helix LT three years ago. Been a Line6 user since many years through POD (the bean), POD XT. POD HD Pro and now the LT. If money is not is the obstacle, then I can highly recommend the LT. It’s a platform to grow in when you want/need to. It has all sound, flexibility in the workflow, all important technical feature and a great user interface. I recommend it base on that and that you can focus on having fun and not run into limitations that you may on POD Go and Helix Stomp (absolutely no bad choices, there are videos on YT comparing those with Helix Floor and they do well). My decision 3 years ago, to go to Helix LT (from POD HD Pro), was above and that I was trigger of the next level of sound quality and the flexibility the platform gave me. I have all the tools I need, to stay simple or do something complex and what I need in that moment. Some reflection. Learning curve – There is a learning curve to be aware of. It’s a platform that take some work and time (true for all modelers in this league). There are tons with videos and documentation giving general info and info drilling down in specific areas. This great user forums with users that help you when/if you got stuck. Speakers – There is users here that are more skilled in this area then me, they will correct me :-). If you play home a par of studio monitors will probably do, Yamaha HS 7 and 8 seems like popular references (search the forum). I have a par of passive PA-speakers and a power amp as my “FRFR”-speakers the last 10-12 years. Have the power amp connected to a mixer that hooks my Helix LT a soundcard from my PC and other sources, so I easily can have my PC as my “band mates” :-) and to record. A month ago, I invested in a Powercab 112 Plus. My motive for that was that bedroom player also want to have fun :-). Support - I did not leave Line6 as a platform as I set a high value on support and this is probably the best in class in this industry. But, that you get regardless based on what brue58ski proposed. So, I will have my 2 cent and a long motivation to go for the Helix LT. Take care… //Per
  10. 1 point
    I’m curious. How is a ‘used’ piece of software any different from the same software in ‘new’ condition? I expect you think it should be worth less. Why?
  11. 1 point
    Give him a minute to get out his slide-rule and lab coat...
  12. 1 point
    That's a very common assumption... trouble is, it's never true. There are numerous variables beyond the patch you bought. It was dialed in with guitars and pickups you don't have, on a different output device(s), in a different listening environment, and at an unknown volume... the volume is particularly significant. And if you're comparing it to some demo video you've seen, all bets are off as you've no idea how much post processing may have been done after the fact. And if all that isn't enough, there's the fact that any given tone can sound very different in a mix compared to playing solo. There will never be perfect 1:1 tonal continuity from one player to the next when the only common denominator is the patch... and as you've already seen, sometimes the difference is night and day. There are simply too many variables. Save your money and learn to create your own tones... it's the only way. You can buy all the patches you want, from every "professional" under the sun, and the same thing is gonna happen every time.
  13. 1 point
    LOL! We should start calling that RubyTopaz syndrome!
  14. 1 point
    You don’t get why people are judging you for saying you want to record prank calls? No one likes getting unwanted phone calls, man... I don’t want to have a hand in helping you do something specifically meant to annoy other people.
  15. 1 point
    Hi, The problem was the USB cable. I used a different one and it was recognized by both Line 6 Updater, and HX. I have updated my Helix. Best, Nelson
  16. 1 point
    Thanks Phil for the answer. I didn't know that myself.
  17. 1 point
    Ouch! Got me a Stöckli Dörrex with a timer. Works like a charm, totally safe. For those tasks I've been using Brian Davies' ClickRepair and DeNoise/DeNoiseLF. Brilliant, albeit clunky to use with its awkward Java UI and workflow. Not sure what's their future will be, see https://clickrepair.net. I have yet to thoroughly test if RX8 Elements can match them. For what it's worth though, Amadeus Pro comes with similar tools, too. For certain specific tasks they are pretty good, too. Oh, I love this kind of "beancounter" work. :D ~~~ Anyway, back on topic: I'm looking forward to use Helix Native in RX8 to nicely chain a few "studio" tools like compressors and EQs within one plugin. If needed. Be it VST for now. Haven't used any VST plugins since at least a decade… cheers
  18. 1 point
    If the VST version functions as it should in RX8 Elements, then simply use that version. As Elements is the stripped down of the application, then I would download the 30 day demo of the full version to see if the same thing happens with that one. There must be a reason that Elements is only 10% of the price of Standard. I realise that third party plugin hosting is a feature of the software, but there is also the chance that the bug/issue is in Izotope RX8 Elements rather than something in HX Native. Might be worth investigating this with Izotope Customer Support. I also think that Izotope have a list of compatible software on their site. I use some Izotope plugins that are really good, but I generally tend use Adobe Audition for audio clean up jobs, so I haven’t any first hand experience of RX8. Hope this helps/makes sense.
  19. 1 point
    Hi all and hope transition from 2020 to 2021 went well I will give you my comment on this and I think you are on to one part of the problem around USB problem. I think cable length matters and the quality of the cable. Probably also the behavior of the USB-port. Most likely hub or no hub. But it is a lot of other dependencies… I have had some USB-related problems from beginning of 2020. Have reported this to Line6 and also in the helix bug report in this forum, here - Don’t know if this is related to the same findings you have axeel_b, but during the investigation and testing I found some interesting behavior close to what you describe, and I got it on tape… I made some optimization of my rigg during the Christmas holidays, I added a Powercab Plus 112 and had to rearrange my studio corner including my earlier 3 meter/10 feet USB cables had to be exchanged for 5 meter/17 feet ones. All vent well and worked perfectly. I got a suggestion from Line 6 Support (they are so good). I went through the suggestions and thought they nailed the problem. Sorry to say but the day after I hade the same problem as described on the link above. Have upgraded the ticket with my findings and changes I made on my way to narrow down the problem. During some more troubleshooting I find what’s on the tape, link below. The recording shows four things: First part a test run that went normal. I start up my system, starts HX Edit and run a backup. This is done with the 3 meter cable. All running normal. Second part I do the same thing but this time with the 5 meter cable. I run the backup and all goes well until it reach backup of the presets, then it fails. And this was what I found a few days ago, the length/cable quality do matters. I can repeat this over and over. The recording is done on the first take (even if the camera stop and I had to restart it…) and by some reason it lose the connection at the same point, always when it comes to back up presets. Third and fourth part shows when running a set list backup. Again it fails when backing up presets. I tested this before and it did not matter what preset list I picked (in case on preset are causing it...). This time I only did it on one set list. What also happened this time, in the end of the recording, it got my PC to freeze… that has never happened before. Nothing else was running, hade to reboot the PC. One sequence I also show that my 5 meter cable work perfect when using the HX Edit to changing presets, changing amps etc. During backup it fails coming to presets. The recording is to be found here (probably the most boring 6 minutes on Internet) - https://www.dropbox.com/s/x0l8t8yj2sve9cl/HX%2C USB BU failed.mp4?dl=0 So my conclusion is that the cable is important (quality and length). I have never used a 1 meter cable as my PC has not been close enough, but 2 and 3 meter frequently. I have had problems with some of those cables and shifted them out. I have had problems with USB-ports but always found one that worked. My brand new 5 meter USB cable does work except during backup of presets. My 3 meter cable works perfectly. When I got the PC+ I also ordered the 5 meter USB cables, one for HX and one for the PC+ (if price matters, they were not the cheapest... I check whats written in the cable and make an update). I have not seen any problems on the PC+ related to USB-communication. I will be most interested to see where this is going. At his point I think the USB/cable-problem is just one part in this story (me saying that referring to my first link and what I see in different forums). The PC itself is a challenge itself due to all hw/sw combinations and configurations and depending how it is maintained (or not) by the user. Not an easy task to solve… //Per
  20. 1 point
    What kind of computer are you using? If Windows, what version? i5 with 8gb ram is minimal. I don't know what the 32 bit float setting is about, but HXS is 24 bit. Optimize your computer for audio (google it). At the very least, turn OFF wireless and set your Power Plan to Performance. In Control Panel>System>Advanced>Settings>Visual effects set to Performance. On the Advanced Tab>Performance>Settings set to Background Services. It looks like (based on the RTL latency reported) that you're using 128 samples. You probably wouldn't like 256, but try it.
  21. 1 point
    Yep, always had this usb disconnect problem too. Been through all the possibilities, its not the cable or computer, thought it most likely to be dodgy helix USB port but strangely it only disconnects with helix edit. If you play audio tracks back through helix it stays connected. Must be something to do with helix edit software
  22. 1 point
    You do realize I reached that point in normal daily use, simply looking for a sound? Of course I'm surprised, it should never break for such simple thing. Of course it's not abuse, switching presets is a basic operation. Seriously people, what's wrong with you all? You see your hardware brick after basic usage and that's necessarily your fault? O__o
  23. 1 point
    I'm sure this is just a language barrier thing, but I have no idea what you're saying. Are you saying "Yes, that solves the problem"? OR "No, I'd like to be taller"?
  24. 1 point
    I'm having second thoughts about this. I was sure that I had it working at one time, and had tested it as mentioned above. Now I can't seem to make it work with ANY hardware! I've opened a support ticket. Will report back!
  25. 1 point
    It's coming sometime in the new year...there's a thread on this already. This version won't have snap shot or multi footswitch naming, but these upgrades are high on the Line 6 agenda and are a possibility in the future. For the coming upgrade, best guess is that this is likely to have some of the less DSP hungry upgrades from the latest Helix v3.0. We are hoping, but don't know, that as the 6 user blocks in HX Stomp were upgraded to 8, that the 4 user blocks in Pod Go might be increased to 5 or possibly 6 blocks...this won't increase DSP but would give greater user flexibility. No release date is yet known.
  26. 1 point
    It probably has to do with the timing of the two commands. I'm not sure what the gap needs to be, but I believe there needs to be one, otherwise, I'm not sure the CC69 command will get though. As far as the snapshot that's active when you load the preset, it's always going to be whatever snapshot was active when the preset was last saved.
  27. 1 point
    Try one of the device reset procedures listed here: Some of these procedures will reset your Global Settings and/or IRs/presets. Since your device is not starting up at the moment you have no opportunity to make a backup. Hopefully you have recently made a system backup (e.g when you updated to v3.01) so once you get it started up again you can restore whatever portions of the backup that you need. Start with the least destructive reset options. As a last resort, start in Update mode and use the Line 6 Updater program to reinstall the firmware.
  28. 1 point
    Run the XLR Outs to the FRFR112s. Run the 5150 in 4cm. Have separate Presets for each configuration, or put the Helix amp and the FX Loop on a single footswitch, saved with one ON and one OFF. Put an A/B Split right before the Output Block with the Panning assigned to the same Footswitch as the amp and FX Loop and two Output Blocks, one set to 1/4" and the other set to XLR. When you want to use the 5150 the Helix Amp is OFF, the FX Loop is ON and the A/B Split is panned to the 1/4" Out Block. When you want the FRFR the Helix Amp is ON, the S/R is OFF and the A/B Block is panned to the XLR Out Block. That path contains the Cab/IR. Attached is a sample preset showing how it's done. SonOfMI.hlx
  29. 1 point
    Yep... If you want Native to sound *exactly* like the Helix hardware, you need to use the Helix hardware as the input source. You can record a dry track very easily with all the Helix hardware pieces, so this works very nicely. That being said, a decent interface with the proper gain staging and input impedance should still sound good. If you’re having trouble with all software modelers you’ve tried with the Scarlett, it very well could be the weak link.
  30. 1 point
    Quote of the month! In fact- in most cases It's not the modeler, or the speakers either. Its "people"..., That group always throws a wrench in the works. Get rid of them and enter toneful bliss.... ; )
  31. 1 point
    Happy Christmas to all the hard working folks at Line6 and to all you lovely people on the forum.
  32. 1 point
    You can select just a part of the text, then a small popup "Quote selection" should appear under your pointer.
  33. 1 point
    Tone is VERY subjective. What sort of tone would you like to get closer to? Here's some basic advice Make sure the guitar strings are fresh. Dead strings won't produce a nice tone to work with. Pickup height will impact your tone a bit as well. Start with an empty patch in Helix. Add an Amp sim with no cabinet. The Powercab has speaker models already, and you don't want to use a cab sim with the Powercab speaker models. It will probably sound muddy and muffled. The PC also has a Flat mode made for when you want to use the Helix cabs, but I'm guessing that's not what you're interested in. Set the Drive where you like, but possibly dial it back slightly. The Drive knob is preamp gain which is "tighter" sounding. Most metal tones come from preamp gain. The Master volume knob will provide poweramp gain, which is "looser" sounding and feeling. Non-metal tones probably use this more. When playing by yourself you'll want the gain to be higher than it probably should be. If you're playing with other people or tracks, you'll want to turn the gain back a bit so you keep some articulation. Adjust the EQ as you want, starting with all knobs at center/12 o'clock When playing at bedroom volumes you'll need to have the bass and treble higher. When playing at volume with a band you'll need to turn the bass and treble down a bit. You'll probably want more Mids than you think if you're a newer player. You might do this with the Helix Global EQ instead so that you can easily turn on/off the bass/treble boost. Look at Fletcher-Munson curves for more info Turn the Helix output up so that you're getting a yellow signal LED but not the red clipping. According to the PC manual, this is the ideal level for realistic speaker modeling. Turn up the amp sim output if you're only getting green on the LED and not any yellow. You may need to turn up the volume by adding the LA2A compressor after the amp. Turn up the PC to a desired volume. If you like metal, you may wish to put a Tube Screamer (Scream 808) or Horizon Drive (Misha's pedal) in front of the Amp sim. Turn the Gain all the way down. The idea is to use the pedal to push the preamp gain a little bit and roll off some of the lows that get muddy. You can then turn up the bass on the Amp after. Sending bass into the Amp's distortion will cause it to distort the low end first, making it sound muddy. Sending in less low end into the amp first will let you distort the mids and highs better. Then turn up the bass on the amp to regain some tighter oomph. If you like non-metal tones, the same idea applies with the other distortion pedals. Keep the gain lower and push the front of the amp a little to get more Drive from the amp. You can drive more preamp gain or master volume gain this way.
  34. 1 point
    oh actually, I just tried luna again with arm mode off and a Native plugin on after updating to 1.3. Seems a lot better now. There's still a tiny bit of latency but it's not nearly as bad as it was last time I tried it under 1.1 or whatever it was a while back.
  35. 1 point
    No, they are not. The HD is a different generation of modeling. The PODxt and X3 series use the same models as POD Farm (more or less - there were some minor tweaks with the X3).
  36. 1 point
    My experience has been similar. I have some 3Sigma as well as some other acoustic IRs and generally have to turn the blend down low. I have also gotten good results from not using an IR at all and just some compression, EQ, reverb/delay, and sometimes chorus blended in. Also always have an expression pedal volume block and also a gain block assigned to a footswitch for an extra volume boost for solos or a lower volume patch where required. I find it helps to keep a healthy signal level coming from the acoustic guitar as well. I have struggled with some presets picking up more string noise than I prefer but can usually EQ it down to acceptable levels or if those efforts are unsuccessful I just create a new preset with blocks that play better with the acoustic. Btw, anyone happen to know exactly where that bit of buzzy piezo nastiness is located? That area of the frequency spectrum that makes it sound more artificial and less pleasing to the ear. Some might say the "piezo quack" . I tend to sweep for it with a parametric and adjust per whichever guitar I am using but curious if anyone knows exactly where those frequencies tend to reside.
  37. 1 point
    Hi, That’s exactly what you would be getting with HX Native, a Behringer U-Phoria UM2, a decent set of headphones and a free DAW such as Reaper. You probably don’t even really need the DAW for jamming, but if you had it, you could have software synths and drums in there if you want to experiment. The bonus being that HX Native is the the brain of a full hardware Helix, minus the Exp pedal and all the extra ins and outs. I guess your other option is a HX Stomp for home jamming. Mmm. big decision - similar outlay.
  38. 1 point
    Mine uses punch cards and it works just fine.
  39. 1 point
    Don't spend your twelve cent settlement check all in one place...;)
  40. 1 point
    After a little further investigation, it seems once your account has 4 authorized computers, you can't authorize anymore and it does not show an error message. Anyone else experiencing this issue should visit this page to check your activations, and remove any old ones that are no longer relevant: https://line6.com/account/devices/ After I removed a few, Helix Native started right up. Edit: only issue I'm having now is none of the factory presets or user presets will load, even after restoring factory defaults, it throws this error. Edit2: You need to "Restore Factory Setlists", not "Restore Factory Settings"...
  41. 1 point
    Not sure how having an account here represents a violation of your privacy rights - you signed up for the account, didn't you? Anyway, you'll need to open a support ticket to have your account deleted. https://line6.com/support/tickets/add.html
  42. 1 point
    ^^^ This, plus the fact that not all that many bridges are intonated well enough for fractions of a cent to be a rational concern during tuning :-) Just my .2 cents... :-)
  43. 1 point
    Izotope Neutron. Also - use 0.011" gauge strings with wound G.
  44. 1 point
    Verne, thank you so much. This is very helpful.
  45. 1 point
    Who else thinks line6 should provide schematics to customers with expired warranties and registered amps
  46. 1 point
    As has been suggested this is a different question than what was talked about at first which was how to get a good sound on the PA, now it's getting a good sound on the studio monitors. And they're somewhat related but there's a different animal involved here which are your studio monitors. As far as MIC or LINE levels, typically on an output device LINE level signals are what is traditional whereas on mixing boards MIC level signals are traditional. That's one of the differences between the question you first posed and what you're posing now. The term "fizziness" means different things to different people so you need to be a bit more precise in what you mean. If what you're referring too is simply too brittle a sound due to too much in the high frequencies, I'd start with how you have your settings on your A5X speakers. Ideally everything should be flat meaning high shelf, low shelf, and tweeter level at 0 or 12 o'clock. To make sure you're getting an accurate reflection of what the Helix is producing they should be plugged directly into the Helix so there are no intermediate PC drivers in the way. As far as you being able to get decent sounds out of the amps and cabs, most of what's been said on this thread applies as it regards using a FRFR output device compared to traditional amp speakers. With FRFR speakers there is far greater response on the high end and low end of the frequency spectrum than what you would hear from a normal guitar amp speaker. You're going to find on full range speakers that high gain tones will sound much more brittle because you're hearing the high end of the distortion which won't be as prevalent on a guitar amp speaker. There are many ways to fix this but the easiest way is to reduce the amount of gain and distortion because with full range speakers a little bit goes a long way. I would say in general even on tradtional amps, overuse of distortion, gain, or overdrive is a VERY common problem, but on full range speakers it's overuse becomes much more obvious. Beyond that this high end shrillness can be tamed a number of ways, but the first place to start is with the speakers, mic and mic placements. Two key things are important here which are the mic's and the placement. Certain mic's like ribbon mics such as a Royer 121 will give a more rounded sound with better low end, whereas an SM57 is more of a mid range mic which has more high end in it, so you need to get familiar with the attributes of the different mics and how they affect the sound so you can choose the right mic for the sound you want. The second part is placement. The closer to the cap of the speaker, the more high end frequencies are accentuated. Usually in the real world this gets dealt with by moving the mic further away from the cap of the speaker out into the cone area. Stock speakers on the Helix don't allow this, but you can get somewhat of the same effect by moving the mic further away from the speaker through the distance parameter. You can also attenuate much of this shrillness by combining cabinets using a dual cabinet block with different speakers using different mics and distances and using a split block to mix how much you want them blended together. Once you've got your cabs, mics, and mic placements settled you can use EQ to fine tune them. You mentioned in your original post you used global EQ with a high pass filter. I'm assuming you meant a high cut as a high pass would effectively be a low cut and accentuate highs. As mentioned previously global EQ is NOT the place to be doing these things especially given you want to use different amps and ideally different cabinets all of which would require different EQ treatments, so you want to do this in the patch itself. The cabinets allow for high cuts, but those high cuts have a fairly gradual slope which means you have to start that slope much lower in order to eliminate high frequencies. Most people have learned it's better to use the Parametric EQ as one of the final blocks in you signal chain to take care of tweaking the overall frequencies. The high cut and low cut parameters in the Parametric EQ have a much steeper slope which allows you to set them higher. On most of my patches, if I need a high cut (which isn't always the case) it can range anywhere from 7Khz to 12Khz with the parametric EQ versus 4 or 5Khz on cabinet high cut. You asked the question why you can't get any good sounds when everyone else seems to be able to. The answer is simple...it's knowledge. You're not driving a Ford Fiesta anymore, you're driving a Porsche so you need to develop some additional skills and knowledge in order to get what you want out of it. The best investment you can make at this point is your time and attention to understanding as much as you can about the different type of blocks and how to best use them. I'd suggest you spend some time watching Jason Saddites excellent Helix series to gain some insight in this regard. https://www.youtube.com/results?search_query=jason+sadites+helix
  47. 1 point
    if people have cel phones, they also are 2.4ghz sources, as they're constantly pinging "what wifi is out there" when it isn't connected to a known network.
  48. 1 point
    This is amazing. Let's try to name all of them and find a way to update the Helix with the real names.
  49. 1 point
    Yanitzch... Yes the audio output from TOP 1 (Fender Amp) is definitely lower than the others HOWEVER, I noticed that increasing the GAIN for TOP 1 does not significantly increase preamp distortion like it does with other amp models .... so, try having the GAIN up well past 1 o'clock and see if you get a better volume structure. It worked for me. I do like the Fender Amp models (primarily the Twin) and I run them with a significantly higher Gain setting than with other models to compensate for the relative gain differential. The sound is still very clean. What you can also try as an experiment for TOP 1, is to put the Gain all the way up full, lower the Channel Volume so you are not blasting yourself, play some strong chords (with guitar up full) and see if the sound is still clean enough for you, if not, back the Gain down a bit (raising the Channel Vol to compensate) until you find the sweet spot where the Gain setting is still providing the clean tone of a Fender Amp. When you're there, you will probably find the Gain to be past 1 0'clock somewhere which in some of the other amp models will definitely be adding grunge, but not with the Fender amp (or so I've found anyways). Then crank the channel volume up as much as you want (even full out) then the master volume to taste. Once there, ALL the other amp models need to be adjusted (usually via their channel volume) to roughly match that Fender Amp (TOP 1). Then you have a relative comparative gain stage for the other 3 presets. I usually run the Fender Gain very high, and the Fender Channel Volume full up for TOP 1 with Master Vol to taste. I also have a POD 500 and run it the same as described above for the Fender Amp Model into my DT25 via L6 Link. Give it a try, see what happens. Hope this helps you out a a bit?
  50. 0 points
    particularly since the account was just created the day of the post, lol there's literally nothing there except the one post damn privacy idiots. i am going to post pictures of what i eat for lunch, and then complain that people know what i eat for lunch.
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