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  1. I don't see any way to get more than one page of results or how to sort by date or anything else.
    4 points
  2. Funny story. Turns out not to be a bug. I submitted this issue as a support ticket and in response Pete in Line6 customer support pointed out that the problem is that global setting MENU > Global Settings > Switches > "Stomp Select" was set to "both". What that means is that when I pressed the FS, it went into setting mode, and the scribble strip reflected that. Changing the global setting to "touch" solved the problem. Now, to make a change in the FS setting I'd need to touch, rather than press that (or any other) FS, but that's fine with me. Thanks, Line6 support (and Pete) for a prompt, helpful response!
    4 points
  3. I agree. I used to like sorting by date so I can see new patches that had been submitted and might want to try...now that seems impossible. bring back the old site!
    4 points
  4. I hate this idea. Helix is a guitar processor. If you need a drum machine, buy a drum machine. I have the Beat Buddy. It works quite well. Please don't screw up my guitar processor by adding non-guitar stuff to it. In case you were wondering, I also don't want to see a blender attachment as I don't think I will ever want to make margaritas with my Helix. Why not? Because it is a guitar processor, not a bartender .... or a drummer. Thank you. (insert rolling eyes here)
    3 points
  5. Who hates the New Custom tone site and misses the old one? The old site was fine and easy to search for patches. New site is terrible and frustrating. Who else feels this way?
    3 points
  6. No. The way to do that is to set the exp pedal to send MIDI, then record that on a separate MIDI track. Actually, if you use Reaper you can record the MIDI on the same track as the DI from USB 7. Then you set the wah in the Native preset on the reamp track to listen for the MIDI CC you set the Helix Exp pedal to and send the MIDI from the DI track along with the audio. You'll also need the Bypass CCs matched.
    3 points
  7. Does the click track send MIDI Clock info? If so, check Global Settings -> MIDI/Tempo
    3 points
  8. BTW I gigged with the Catalyst last night. Couldn't fault it. Don't think I'll need my Marshall now.
    2 points
  9. IF you can find one, they are still fixed CC's, not sweeping. It would DROP the pitch, then return it - you will not have control (with foot) at how fast the pitch drops. If the effect you are using in the helix has a way to vary the drop speed, that is your only hope. I'd recommend buying a spring loaded expression pedal. Also hard to find, but that would give you the control you really require. Or, buy any cheap expression pedal and do this remarkably simple mod. (it doesn't have to be the expensive expression pedal in the video)
    2 points
  10. I see this as further evidence that Line 6 is recognizing the realities of the modern guitar playing audience which is simple and portable. I think we've been through a bit more than than two decades of self-indulgence when it comes to our guitar processors which culminated in the original Helix line. A powerful do-it-all processor for any modeling job you can think of born in the age of massive floor pedal units. But those days are trending out I believe. Don't get me wrong. I love my Helix Floor and I'll never replace it because it does everything I want or need it to do, and I ask a lot of it. In reality my Helix is now more of a stage performance control unit nowadays than it is a pure floor modeler. After I get it set up I don't touch it other than to use the volume pedal to turn it down while I switch guitars because all other actions on my Helix are controlled externally. The vast majority of my presets are relatively simple because the requirements of each song are not terribly daunting. The role of guitar in music has clearly diminished from where it was when the Helix was introduced and not a lot of younger players want to cart around a unit that has great capabilities out of which they only need a simple few. Even my own time on guitar has diminished considerably as I tend to focus much more time on my keyboard work. But that's just the natural situation dictated by the music environment of the times, and that fits me because I'm also ready to move into new adventures and challenges beyond just the guitar which I find limiting given modern music tastes. I think Line 6 recognizes these kind of changes and are adapting to it because they're a VERY wise company having been successful for a very long time. Of course music trends are commonly cyclical, and things may change back at some point. Having been a musician my entire life and turning 72 this year, I'm ready for something new to challenge me for however much time I've got left on this rock.
    2 points
  11. i jumped on ToneX when it was first released - I could finally afford to find out what this "profiling" thing was all about! First thing I did was capture my one and only amp - my Catalyst. TBH, I couldn't tell the difference. Cool! Then I spent too many hours auditioning captures on Tone.Net. Turns out the ones I was liking best were mostly done by one guy and, when I looked into it, they were captures of his AXEFXIII! Since then I've gotten the ToneX pedal and a boatload of Amalgam captures. Now, the main reason I wanted in on this was to get a chance to try a bunch of amps I'd never even see ITRW. Invariably, after playing them for a while, I go back to my Helix to see if I can get those tones. Yep. Exact? No. Close enough for R'n'Roll? Yep. Bottom line - ToneX is fun. I still play Helix most. More and more just my Catalyst. What can I say - simple man, simple needs. Of course, as always, YMMV!
    2 points
  12. Correct. Don't look for the correct plug for too long, better get an adapter cable (or two, just in case). That way you should be able to use pretty much any halfway decent power supply.
    2 points
  13. Hard to say if it's a lack of understanding about the target demographic, or the genuine belief that "I have no use for this thing, therefore no one else will either". We live in a bizarre time, and people are weird. And guitar players are weird and crazy....
    2 points
  14. The USB7 dry signal is tapped at the Helix Input block, before it undergoes any DSP, which is what defines ‘dry’. Hence, no it doesn’t capture anything about your preset, including the Wah pedal. You can use MIDI with Helix Native to control the bypass state and pedal position of the Wah. You can do this manually during every playback using the Helix pedal controller, or (probable preferably) you can record a MIDI Automation track that captures the pedal movements once and then applies the automation during all future playbacks. Details vary with the DAW but the Helix Native part of it is explained in the manual.
    2 points
  15. Hi, Ben, I would regard your question to be more esoteric than existential, and as we are generally not psychic in these forums, it's really big help to know what DAW you are using, and on what computer OS. Anyhow, here we go. You would be best advised to have some sort of MIDI Controller for this job, but firstly, check out this video for some idea of how it works. The section named "The Better Way" @ 4:08 makes most sense of how to approach this. Hope this helps/makes sense.
    2 points
  16. See that little button labeled "UI" at the top right next to "2 in 2 out"? Click that.
    2 points
  17. @rd2rk, thanks for confirming. I submitted a request to support just before posting this discussion. I'll update the case notes with a link to this discussion so they can see that others (at last you) experience the same issue. Thanks!
    2 points
  18. @yoMuzicManYou have re-uncovered a bug. Meaning, this has been noted before. IDK if it was ever reported, so you should open a support ticket to report it. But to be clear, I have tested and this is real. At least, on my HX Stomp. I haven't tried on my Helix Floor, but no matter, REPORT IT!
    2 points
  19. Works now. I turned spillover off and then turned it on again and the settings took effect. Strange that they didn’t the first time… but good to go!
    2 points
  20. I don’t know whether or not there will ever be a 4th snapshot for the Stomp. Also I don’t have an HX Stompmto experiment with so this is purely theoretical…… There might be a way to use one Snapshot and one or more FX blocks turned on/off appropriately to provide you with what you would otherwise call Snapshot 4. For instance, could you blend your Crunch and Rhythm snapshots so that Crunch = Rhythm + OD FX? Or your Rhythm to be Clean + Mod + Del? You get the idea. Doing that, and configuring certain Global Settings appropriately (e.g. snapshot toggle), you might be able to use 3 defined Snapshots plus the Bypass feature and Mode switching to yield a 4 snapshot setup. I haven’t investigated this approach so it might or might not work or be practical.
    2 points
  21. In Global Settings>Ins/Outs, the SEND that you're using should probably be set to INSTRUMENT. Now you know why it's 50/50 whether to use distortions in FX loops. They're designed to be connected between a guitar and an amp input. Other stuff (even other physical FX) tends to change the formula in unpredictable ways.
    2 points
  22. Thank you so much @loonsailor for taking the time and finding out what was going on. At first it didn't work, but after a factory reset, it now works perfectly. Thanks again.
    2 points
  23. I second the "try the amp models instead" advice. But if you want to try the preamps go to the output block and crank the level to +20dB. Here is a link where the preamps are explained.
    2 points
  24. Test this: Put a patch cable from Send1 to Return2 and test FX Send1 block -> FX Return2 block for signal Put a patch cable from Send2 to Return1 and test FX Send2 block -> FX Return1 block for signal You should then know whether FX Send1 or FX Return1 is not working. With that knowlegde open a support ticket.
    2 points
  25. I submitted a ticket an hour ago, as well as posting in the Bugs stream of this forum last night.
    2 points
  26. Thanks, rd2rk. When I first import and load the preset, FS1 has the label Dirt. But, when I press it the strip switches to "snapshot". Repeated presses toggle between the two snapshots, but the scribble strip always just says Snapshot. However, the FS LED does change color. I set different colors on my own preset's snapshots, and it also changes color. Seems like a bug. I've had my unit since they first came out, but this is the first time I've needed snapshots, so I don't know if it worked properly on a previous version.
    2 points
  27. The same thing happens for me (HXFX, 3.71). I have two snapshots created and named. When I enter snapshot mode (bank up+down) they both names show properly. I set up foot switch one using command center like so: snapshot 1 - press/release press = snapshot 2, release = snapshot 2 snapshot 2 - press/release press = snapshot 1, release = snapshot 1 When I press FS 1, it does indeed toggle between the 2 snapshots as intended, but the scribble switch always just says "snapshot". Another weirdness is that it seems to be necessary to make both press and release go to the desired snapshot. I originally set release = none, assuming that meant nothing would happen on release. But instead, when release = none it takes two presses of the FS. First press does nothing, second press toggles as intended. I don't understand that at all. Maybe it's worth mentioning that I set everything up using HX Edit, not on the unit itself. That includes both the command center stuff and the snapshot names. The snapshot names do show correctly on the scribble strips when in preset select mode.
    2 points
  28. Hi, Check out page 32 > Customising a Snapshot Footswitch’s Name and Colour in the HXFX Manual. https://line6.com/data/6/0a020a411710a6112a67116f0b/application/pdf/HX Effects 3.0 Owner's Manual - English .pdf If this is how you are creating and saving your Snapshots and you are not getting the correct result, you may have found a “bug” that needs investigating. If this is the case you should contact Customer Support to raise a ticket, unless another FX user can help out. Having said that, as all Helix units share the same basic firmware, if it was a bug then others would probably have this issue on other hardware. When weird stuff happens - a factory reset usually helps. Hope this helps/makes sense.
    2 points
  29. @brAzzi64 Ok. This was interesting: What happened there is that Ola's original file has leading silence of 27ms (almost silence - just very low noise). An 1024 samples IR at 48kHz is about 21ms long. So you imported the file and listened to the silent part using a 1024 sample IR block. But why did it work after ffmpeg re-encoding? -Because ffmpeg makes almost silent parts completely silent (for better compression rates). That complete silence was now recognized and removed by HX Edit during the import.
    2 points
  30. I'm trying to sell my Helix Native account for $100, PayPal only. It came for free with my HX Stomp purchase, just never use it. Reply if interested. edit: SOLD
    2 points
  31. An upside to the Go though is that it does have some excellent effects. So even if you were to get a new unit for some reason, there would still be use from the Go as an FX unit; bypassing amp & cab, just using for the fancy reverbs, looper, etc., Competition - Boss GX-100 - Mooer GE300 - Headrush MX-5 - Valeton GP200 - Zoom G6 There's a bunch of also cheaper effects, at 1/2 the price, but even if somehow the sound quality of the cheaper units was great, I think all these lose out in flexibility, like ordering effects, PC software, colour screen, etc. Think I'd have a hard time choosing given the Go's alternatives today. Indeed, two years ago, going Go was the obvious and easy choice as there wasn't that much competition imho. Go's complexity The biggest drawbacks imho to Go is complexity. I'm still not super happy with the cab/mic and IR side. Out of my 100ish IRs, I'm often just scrolling and scrolling and the majority sounds like 'crap' to my ears. They may be imitating real cabs and real mics, but I don't really care, I'd just want 'good sound', I'm not really interested in being 100% accurate to the real thing; I'd just rather have a bunch of great sounding emulated/virtual cabs even if they aren't accurate to existing cabs. In fact, I was wondering if 'optimal' or 'virtual' IRs exist, some do; like mixes of different cabs... I'll definitely have to look into that. Cabs, mics, mics distance, IRs ... 99% of the time I'm messing with Go, I use the Best IR in the world, https://www.youtube.com/watch?v=BI6rovO03DA since yeah obviously it's the best IR in the world! I've not wrapped my head around cabs + mics. The cab + mic + distance is just too much for my brain (memory & understanding), and I can't get a good grasp / ability of thinking of a sound and getting it by tweaking the settings. Too many combinations of mics, cabs, add the distance, the hundreds of cabs and mics combinations, it's just too much for my brain. Do we really need so many cabs and effects? How many different compressors do you need? It's the same for the effects; amps, etc., it takes a long time to really know 1 effect (ex; dynamic hall reverb, or glitz, compressors.), so even after 2 years, I'm really far from being a PGO expert. Hell, Go is too much for my brain. I'd say I'm maybe familiar with ~10%; I'm starting to know some amps, effects, but I've got what, maybe 3 dozen patches I've built up, and maybe 6 dozen downloaded patches, and I'm mostly using the same ~10 favourite patches, which I'm still tweaking.. Who is Go best for? So in the end, maybe the Go is best for musicians, experts who really want 'real life' simulation. For an amateur like myself, maybe a simpler unit would have been best. How many cabs do we need? How many amps? If we had just 12 great amps, even if they're not based on real amps; bit like the Boss Katana or L6 Spider type of logic; 'brown sound', 'crunch', 'metal', etc., with like 12 amazing IRs, that would have been waaaaay better and sufficient for me. Maybe we don't even need cab/IR block in reality, you get some EQ capabilities with amps & EQs, I'd prefer having say 24 amps and no cab/mic block, vs 12 amps + 12 cabs. The 24 amps would be tweaked amp/cabs/ir combinations, so great sounding 'presets' for the genre, vs you having to find which combinations works and doesn't work; so; tweaked presets, vs you having to resolve the puzzle of what works/doesn't... So; someone having done the work to give you great Amp + cab/IR combinations, rather than you having to figure/tweak everything yourself. Do you need a PhD in Pod Go? Not really, Go is simple enough so that anyone can fiddle with it and get basic good sound in just a few minutes. BUT, if you want to extract the most out of the Go, and make it sound it's best, or exactly like you want, it's really not that simple. The devil is in the details. And IMHO, the more complex, the more true, and Go is extremely complex. Pre-conclusion So yeah, imho Go is still a great unit in terms of sound quality, capabilities, etc., still a great option, but yeah I don't really know the competition, which seems somewhat overwhelming/overtaking the Go. Think yeah the go is starting to be a bit underpowered from some of the comparisons I've seen... Hell.. I said I wasn't looking for an upgrade... But thinking, maybe I'll start looking at the details of what's out there. Is tweaking Go fun or work? And honestly, the reason is that PGO feels like work. It's like getting a PhD in PGO. And using the Go 'correctly' is using a bunch complex formulas; it really does feel like work in a sense. You can mess with effects/settings/etc., but it's always frustrating that everything is always so complicated; like a simple thing; a stupid mouseover which explains what a setting is................ Instead... It's having to get on the computer and do a web search for w-t-f a setting does .......... That's not fun.......... And in the end, you're all too often overwhelmed. So... Meh... Future? So yeah, ditching that for a simpler unit honestly feels somewhat exciting. If somehow you're getting improved sound quality, huge bonus, but in the end, since getting the best out of the Go is so complex............. You're going to get better results if the unit is simpler to use. Like the Dynamic Hall......... I've been wrestling with it for a couple of weeks. Sure, I've managed to make it sound good, but it's always like i'm missing the last 10% that I just can't get quite right... Ex; videos demoing sound, the reverb will sound better to my ears on the video than on my Go it seems........! Conclusion So yeah, if getting to the finish line is made easier by having less options/complexity; a simpler unit helping you to get great results without overwhelming you with a gazillion options, that would be best for me. That may be the Go's biggest drawback for myself. It's not the lack of outputs, parallel paths, multiple amps, not enough DSP or blocks, sound cut during patch change, etc., it's just that the thing is a bit of a pain to use due to its complexity. (Not as per switching amp is complicated; but so many amps and so many amp settings, or so many effects and so many nebulous effects settings, etc.)
    2 points
  32. After you edit the title, are you hitting ENTER before you SAVE?
    1 point
  33. Hi, I'm currently working on covering Pantera's Cemetery Gates live, and one thing I'm struggling with is the harmonics at the end of the song. This is what I mean for people who don't know the song: I know that this can be achieved with proper technique, but I haven't been able to reliably do this just with a high gain tone, and I don't have the time or motivation to make it work this way. So, I'd like to fake it with the HX Stomp :) Basically, I think what would serve me best is a two octave up pitch shifter, along with infinite sustain. So far I got the best results with the new "Feedbacker" effect (really cool BTW!), but it is a bit difficult to control, as it seems to be aimed towards emulating a constant speaker feedback rather than a moving note. Appreciate any advice!
    1 point
  34. What damper pedal are you looking at? In my experience, the pedal itself does NOTHING.... the functionality is built into the keyboard or device. SUSTAIN and DAMPER pedals are simple ON/OFF momentary switches which won't do anything on a Helix - although it can be programmed to do something on an HX Stomp. If you wire a 10K resistor into the damper/sustain pedal... VOILA! The Helix comes alive using it as a 2nd (or 3rd) expression pedal with a fixed value! You just need to know what you want to control with it.
    1 point
  35. Hi, If you have both the LT and FX units, they can simultaneously connect to HX Edit because it has Multi-Device, Multi-Window Support. You should then be able to drag and drop presets between each unit. Regarding preset compatibility between the LT and HXFX they should work if your LT Preset doesn't exceed the HX Effects Block type and Path count, and DSP limits. Snapshots greater than 4 are discarded. (from the HX Edit Pilot's Guide) The next time you open HX Edit, click on the “question mark a white circle” in the lower left of the GUI window. There you will find a link to the HX Edit Pilot’s Guide, which is a downloadable Adobe Acrobat pdf. This contains all the relevant information you may require for editing and managing your presets and also a Preset Translation Compatibility Table. Hope this helps/makes sense.
    1 point
  36. Oh, that forum where the average age is 60 years old, and the average mental age is 14 years old? No, thanks.
    1 point
  37. What you've described is how it works. EDIT: if you're following the procedure as I'm about to describe but firmly PRESSing the knob doesn't work as described then yeah, HW problem. To MOVE a block you use the Joystick<> to select the block PRESS Action Use Joystick<> to MOVE the block PRESS Action to drop it in place To open the Models List you use the Joystick<> to select the block PRESS the joystick knob TURN the knob to select the FX Category PRESS the knob to open the MONO/STEREO/LEGACY column TURN the knob to select MONO/STEREO/LEGACY PRESS the knob to open the actual Models List TURN the joystick knob to select the actual model PRESS the knob to confirm the model and return to the signal chain view If you want to CHANGE the effect model just select the block, press the knob, turn it to your desired effect and press again. If you want to replace the effect with one in a different category, select the block, press the knob and Joystick<> to the proper category and repeat the initial effect selection process. This is one of the most complicated operations performed in the UI and in order to DESCRIBE it I had to run back and forth to my Helix. When I'm actually doing it, I don't even think about it. Practice makes perfect!
    1 point
  38. 01001000 01101111 01110111 00100000 01100100 01101001 01100100 00100000 01111001 01101111 01110101 00100000 01100111 01110101 01100101 01110011 01110011 00111111
    1 point
  39. Thanks for the suggestion. I tried #1 and #2. For both situations I get a signal when a block is set to any send/return option except FX Loop 1 and 2. However, when I insert a drum machine into Return2, it works, whereas in Return1 it doesn't, so at a minimum, Return1 appears kaput. My unit is long out of warranty, and I'd rather do without than pay for a fix, so I guess I'll just open it up and look for a bad connection. Thanks again.
    1 point
  40. https://sweetfootpedals-com.3dcartstores.com/HX-Micro-1-2-Outlets--TINY_c_77.html
    1 point
  41. Gear lollipop. That's hysterical! Fortunately for Freedom of Speech and Expression, robots are not as smart as they think they are!
    1 point
  42. Hi, There are no Line 6 staff here, and only very occasionally do they visit these forums - (See the “sticky comment” in the black banner stripe at the top of this page entitled “Welcome to the Line 6 forums”). This link is where you need to go to have any hope of your suggestion been seen by anyone from Line 6: https://line6.ideascale.com/c/ Before posting any new ideas, please do a search to see if it's already been listed. Multiple requests for the same thing will thin out the votes. Also, post your ideas one at a time. Many users don’t vote for combined suggestions. Then you should use the “sticky thread” in the main Helix forum to let other users know what your suggestions are, with links to IdeaScale, so they can vote on it if they wish. Hope this helps/makes sense.
    1 point
  43. Hi, The next time you open HX Edit, click on the “question mark a white circle” in the lower left of the GUI window. There you will find a link to the HX Edit Pilot’s Guide, which is a downloadable Adobe Acrobat pdf. This contains all the relevant information you may require for editing and managing your presets. Hope this helps/makes sense.
    1 point
  44. Do you mean the Factory Presets? If you want to restore the Factory Presets perform a Factory Reset. On the HX Stomp you do this by holding down FS 2+3 while powering up. This restores default global settings, factory presets, and factory IRs. After doing this, rather than copying down values, simply Export the presets you are interested in. Then Restore your backup file. When you want to experiment with those factory presets simply Import them again. There are many reasons that your manual procedure may be inaccurate or incomplete. Rather than worry about that, do the above.
    1 point
  45. The update process only reverts to "default settings" - I'm not sure what you mean by that - if you fail to complete the process by performing a Factory Reset after the update per the update instructions. You must then perform a RESTORE, which brings everything (Global Settings/Custom Presets/IRs) back to where you left it before the update. If you want to retain any NEW presets added in the update then you export those presets before the RESTORE.
    1 point
  46. If you are running through a monitor, then you need amp+cab. Cab darkens the sound, that's a known "side effect". Nobody performs with an amp block without a cab/cab sim, unless they are trying to recreate the Beatles' Revolution guitar sound.
    1 point
  47. Same happens to me. This past weekend, the sound went silent right before downbeat of the 1st song at a live show. Very frustrating & embarrassing! It wasn’t the cable, or a problem with the guitar or anything. This problem happens to me and usually the only fix is to turn power off/on but even that didn’t work this time & ended up having to go direct thru DI and had to skip using the Stomp altogether. Again, so frustrating to use this unit at gigs not knowing if it’s gonna get thru the entire show. Unreliable!
    1 point
  48. Is it possible to get the Mark IV describtion in English? I dont understand spanish
    1 point
  49. Here is a document I have been working on but is not really ready for prime time yet. It is drawn from a variety of unquoted sources (my bad) and as I mentioned not yet fully edited but in the interests of giving you some general knowledge to work with I will post it up. There are probably other users on the forum who can provide more explicit settings for the compressors on the Helix and there are also user provided presets on CustomTone (good luck sorting through them) that serve as great examples. Anyway, here goes, a completely deranged and disorganized guide to compression that is designed to give you a working knowledge of compressor settings and operation rather than provide you with the settings but may nonetheless shed some light on the subject. There is a great link to suggested compressor settings for a variety of instruments as well as some other sample settings towards the end of this post. There is also a section further down on how to use the Helix 'LA Comp' compressor as well as a general section that applies to the Helix's 'Deluxe Comp'. For those of us who use compressors in a preset, most of us probably have it on all the time (and that is ok), or perhaps have it setup to switch off when we want more dynamics, for instance when we kick in a distortion pedal or heavier sound on a solo via a snapshot or pedal assign. I think however that the compressor is a prime candidate for assigning parameters to snapshots so that you can change the values on the compressor to match your tempo, attack, or song part (intro, verse, chorus, solo, bridge, outro) instead of just switching it in and out or leaving it on all the time. The HX line of devices added a gain reduction meter to the firmware at some point. You can use this by selecting any compressor block and look to see when the threshold you set is being crossed, and also how long it is being engaged until it is released. The gain reduction meter is extremely helpful for setting the threshold and release settings. I have gathered a bunch of notes together over time from various websites regarding compression so this work is the result of others much more well versed on the subject. My apologies in advance for any inadvertent plagiarism. I would be happy to cite sources or remove text if anyone sees their text here. Some notes may be redundant as they came from a wide variety of sources. I hope this assists some folks in getting their heads wrapped around compression parameters and their usage in different scenarios with the guitar and bass but also with vocals, drums, etc.. Why use compression?: Reduce sudden peaks/spikes. Smooth and make levels more uniform and less jarring on guitar, bass, drums, vocals or other instruments As a boost Add sustain, particularly on clean presets, but can also sound great with distortion and overdrive Articulation, dynamics (incorrect settings can squash these) Push an instrument more out front Make an instrument sit better in the mix 'Chicken pickin', funk, and other particular genres or styles Special effects (sometimes pumping or breathing can be a good thing) Suppressing microphone feedback, 'ringing' out a PA Leveling overall recording output in the mastering process Reduce masking of overlapping frequencies between instruments by sidechaining (description further down in document). First a brief description of common compression parameters (the 'Deluxe Comp' on the Helix has all these settings): Note: On some simple, for example two knob compressors, two or more of these parameters' functions may be collapsed into one knob. For example, turning up the ratio may simultaneously turn down the threshold. (contributor: njglover) Threshold is how loud your signal has to get before the compression kicks in. This is essential because you may not want your entire signal to be compressed. Some units have no threshold knob- for them, the threshold may be "fixed" and can only be adjusted by changing the input level of your signal. In other words, increasing the level of your signal by turning up the guitar volume or adding a pedal with a boost, etc. before your signal goes into the compressor. Alternatively on some two-knob compressors, as mentioned above, turning the compression knob may simultaneously raise the ratio and lower the threshold. Ratio is how much your signal gets compressed once it passes the threshold. Ratios are figured in decibels (dB); a dB is a unit of how much a signal increases or decreases relative to where it started. With a ratio of 4:1 for example, the idea is that for every 4 dB your signal goes over the threshold, the output level will only go up by 1 dB. Generally, ratios of 2:1 to 4:1 are considered light or moderate compression, and ratios of 10:1 or higher are considered heavy compression or limiting. A hard "brick wall" limiter has a ratio of infinity:1, meaning that once your signal crosses the threshold, the output will not increase more than 1 dB no matter how high the input signal spikes. Attack controls how quickly the compression reacts to your signal, and Release controls how long it takes to "let up" and stop compressing after it's triggered. These controls are interactive, and the right settings for them will vary depending on the music and your playing style. You'll have to experiment, but for some compressors (not all) a decent rule of thumb is to start with the attack and release knobs in their middle position, and adjust from there. Keep in mind that on most compressors the 'Attack' setting gets longer, aka slower as you turn the knob clockwise. That means when the knob is at its minimum, all the way counter-clockwise, the attack will be at its fastest(e.g. 1ms); this means that the compressor will almost immediately start applying compression to your signal. Somewhat counter intuitively too fast an attack setting on the compressor can actually squash your guitar's attack and dull the transients at the front of the picked note. Turn it all the way up and your attack will be its slowest setting with the compressor taking the longest time possible(e.g. 1000ms) to engage. "So the fastest attack will be the knob at 1, the slowest attack will be the knob at 10. (contributor: optimist)". Extreme min/max settings on either attack or release can cause pumping or breathing. Output Gain controls how much the volume of your signal is increased coming out of the comp, and this is necessary because compression lowers the overall average levels of your signal. Increase gain when using higher ratios and lower thresholds to maintain your output level. Almost all compressors have a booster at the end, which provides "makeup gain" to bring your signal back up to the level you want. This is what accounts for both the increase in audible sustain and harmonics, and also the increase in the noise floor. Knee - Set on hard-knee, the compressor waits until the signal crosses the threshold, then it reduces the signal at the specified ratio for a punchy sound. With soft-knee compression, the ratio gradually increases as the signal approaches the threshold, resulting in a more natural feel and a wider dynamic range. So here goes, some general information and tips on using compression in no particular order: Note: Sometimes 'pick attack' or 'string attack' is mentioned in this document and refers to how fast or hard the string is being plucked. This is not the same as the 'attack' setting on the compressor although 'pick attack' may influence your choice of the compressor's 'attack' setting. Use increased sensitivity(lower threshold) on slow attack times to make sure compressor engages. Use a higher ratio for more pronounced compression. The more compression (higher the ratio) the higher the makeup gain needs to be set. Compression ratio and threshold are related, since both increasing the ratio and lowering the threshold will result in more compression being applied to the signal. Use a fast release for faster return to normal level. Tempo as well as string attack can profoundly affect compression. Set attack and release settings shorter for fast pick attack or fast tempo otherwise you may hear pumping or the compressor may not kick in properly and miss notes that are above the threshold you set and should have been compressed. Slow attack times allow the transient and initial attack of the note to come through. Setting attack too fast/short may cause the initial attack on the string to be squashed and result in a loss of dynamics. If release time is set too long, it may compress a quieter note that rapidly follows an above-the-threshold note. Medium release allows a quieter note that is below the threshold to not be compressed. Longer release times can add sustain and sound more natural on acoustic instruments like the acoustic guitar where a note or chord may ring out for quite a while. Electric guitar ratios are often 4:1 or even 6:1 although lower settings work fine as well. You may want a lighter compression on overdriven or distorted tones as there can already be a fair amount of compression from the amp and distortion effects. A ratio of 2:1 or 3:1 may be sufficient here. Mastering and busses often uses slower attack times depending on the source material. Pumping, breathing, and distortion: Attack time settings affect the sound quality in terms of overall perceived brightness or high-frequency content. If you use very fast attack time settings, the compressor will activate very quickly, reducing gain instantly at the waveform level of the sound. However, too fast an attack or release can cause distortion or unwanted artifacts like pumping or breathing, particularly on bass or low notes as the attack and release are actually faster than the cycle(hz) of the note being played. Since transient information at the front or attack portion conveys brightness character, especially with percussive sounds, immediately reducing it with the compressor will dull the sound. Selecting a slower attack time will allow the transient portion of the sound to pass through before the compressor starts clamping. However, if the attack time is too slow, ineffective and tardy compressor action may result. Low frequencies (e.g. bass guitar, detuned or just low guitar strings) can be distorted by too fast a release time. Super fast release times, along with a fast attack time setting, will distort low-frequency sounds, as the compressor is capable of gain change within the period (the 360-degree cycle of the lowest fundamental frequency) of the sound's waveform. Likewise, over-long release time settings are another form of distortion, since gain reduction is "stuck" clamping the sound down for an unnaturally long time period. "Pumping" and "breathing" are engineer jargon words for obvious compressor artifacts or side effects with maximum compression. Sudden and usually unwanted deep gain reduction is called pumping, while a slower return (release) to operating level with a noticeable rise of the noise floor is called breathing. For a more transparent sound you may prefer a release time that has the shortest possible time that does not produce a "pumping" effect, caused by cyclic activation and deactivation of compression. These cycles make the dominant signal (normally the bass drum and bass guitar) also modulate the noise floor, producing a "breathing" effect. For more sustain you may opt for a longer release time. As previously mentioned, fast release/attack times may create distortion, since they modify the waveform of low frequencies, which are slower. For instance, one cycle at 100 Hz lasts 10 ms, so that a 1 ms attack time has the time to alter the waveform, thereby generating distortion. Compression settings especially for guitar: This is an interesting blurb regarding the Rockman compressor. The problem to solve, when you want to design a compressor for the guitar, is a double problem: Act as a limiter during the first part of the note - a strong peak (think fast attack) Act as a sustainor during the second part of the note - a slow decay (think slow release)" Side-bussing compression: You can side-buss the compressor with an EQ block to selectively compress frequencies or provide both a direct signal and a compressed signal to the mix. Sidechaining compression: You can sidechain the compressor such that for instance a kick drum hit will momentarily compress the bass guitar in such a way as to reduce the masking of the kick-drum by certain frequencies in the bass guitar. Sidechaining is essentially used to cause the trigger instrument to cause another target instrument to be momentarily compressed. Ringing out microphones and feedback in a system: A compressor can be used to aid setting up a system when it is being ringed out, i.e. its main feedback frequencies are being removed with an equalizer or a feedback elimination type unit. The compressor will have a low threshold level and infinity-to-1 ratio with hard knee characteristics. With no signal present, we will gradually increase the volume until the first feedback frequency rings. The compressor will catch it and keep it at a constant safe level, making adjusting the equalization an easier task. The process will typically be repeated until the third or fourth feedback frequency has been ringed out. Sample Compression settings (source citations needed): First a great link for compression settings for various instruments: http://anythingpeaceful.org/sonar/settings/comp.html Note: You may want to try an attack setting of 20ms-25ms or more for electric guitar. This will allow more of the initial transient of the guitar note through and make for a more articulated sound with better attack and dynamics. The recommended value of 7ms in this chart for electric guitar is fairly low although good for fast picking or catching and suppressing loud sudden peaks/jumps. An interesting article on how to set different compressors http://www.ovnilab.com/articles/setup.shtml Helix 'LA Studio Comp' Parameters And Usage Tips Note: The 'Mix' control as on most compressors can help by adding back in the initial pick attack as well as potentially brightness or tone to the signal by providing some of the uncompressed signal in your path, particularly on higher 'PeakReduc' settings. PeakReduc - This will set the 'amount' of compression and also adjust the threshold (how high the input level, or the often related, how aggressive the pick attack needs to be, to trigger compression). These two parameters(ratio, threshold) are collapsed into this single control on the 'LA 2A'. The ratio control being the ratio of dbs being reduced you are used to seeing e.g. 2:1, 4:1 and threshold referring to what input level is required to trigger compression. I don't know how or even if the attack and release are figured into the PeakReduc when it is adjusted. The original 'LA 2A' analog compressor the 'LA Studio Comp' is based on did not have attack and release controls (similar to a two knob compressor pedal) but instead used the "combination of an electro-luminescent panel and a photo-cell to determine the attack and release characteristics of the LA-2A". I am not sure how Line6 modeled that circuitry but that is what would set the attack and release in the original effect. Gain - This is referring to the 'makeup' gain knob you see on most compressors. Generally the higher you set the compression (PeakReduc) the more the signal will be reduced and the higher the 'Gain' will need to be set. "This control does not affect the compression. The gain control should be set after the desired amount of compression is determined using the Peak Reduction control. Once the Peak Reduction control is set, adjust the Gain Control to achieve the desired output level." Emphasis - Use this to have more or less compression on the sparkly high end of your guitar signal. "The LA-2A was designed for use in broadcast applications. The audio signal in FM broadcasting undergoes pre-emphasis and results in a 17 dB boost at 15 KHz. Due to this increase in signal level, transmitters are subject to over-modulation. The LA-2A provides a control (R37) which controls the amount of high-frequency compression. Increasing the resistance of this potentiometer on the original device by turning it counterclockwise will result in compression which is increasingly more sensitive to the higher frequencies." So, to put it another way, this large 17db bump at 15khz in the original LA-2A compressor meant that they built in an 'Emphasis' parameter that kept compression flat across the frequency spectrum but allowed you to apply additional compression to the high frequencies. I suppose in some respects similar to a two band "multi-compressor". I don't know exactly at which frequencies Line6 or the original effect applied that additional compression; on the original maybe around 15khz as that is where FM broadcasting signals were boosted. I am not sure of the answer to that question. It is worth noting that on the original device turning the 'Emphasis' control counter-clockwise (down) actually increased the amount of compression applied to the high frequencies. Type - This parameter will adjust the ratio settings used in the 'PeakReduc' parameter to much higher values, generally you will set this to 'Compress' for guitar. Setting it to 'Limit' will change a 2:1 ratio into for example a 10:1 ratio more ideal for limiter use. A few sample settings for different instruments: If you want to use a little compression to bring the electric guitar forward and give it some punch or sustain, try these settings. You may have to experiment with the threshold setting in particular as various compressor models use threshold differently: Threshold: 1dB Ratio: 2:1 - 3:1 Attack: 25-30 ms Release: About 200 ms Gain: Adjust so that the output level matches the input level. You don't need much added gain. To get a handle on the potential muddiness of the amplified bass guitar use a little compression. Compression can also help control uneven levels that result from overzealous or inexperienced bass players. Remember too fast an attack or release on bass because of the lower hz cycle can cause distortion as the compressor is cycling faster than the note. Try these settings for a start: Threshold: 4dB Ratio: 2.5:1 - 3:1 Attack: 40-50 ms Release: About 180 ms Gain: Adjust so that the output level matches the input level. You don't need much added gain. These are good settings for strummed or picked acoustic instruments: Threshold: 6dB Ratio: 3:1 - 4:1 Attack: Around 150 ms Release: About 400 ms Gain: Adjust so that the output level matches the input level. You don't need much added gain. The release is set very high because of the amount of sustain that acoustic instruments such as a guitar or dobro can have. If you play an instrument with less sustain, like a banjo mandolin, or even a ukulele, you may find that a shorter attack and release work just fine. Excellent video on compression - more general and less guitar-centric:
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  50. https://soundcloud.com/user-512214365 Silvertone 1484 (Mail Order Twin) (only Helix) No Master, No Presence, No Mid The Silvertone 1484 was manufactured by Danelectro for Sears and sold under the Silvertone brand. . These amps have recently surged in popularity because of their use by Jack White, Beck, and anyone else who wants great tone. The smooth drive to hard crunch will please just about any guitar player out there. Theyre dynamic but also have this different vibe that encourages experimentation and creativity. The sexy, cold war era styling is just the beginning. It has become the in-demand Silvertone amps of the current era. Onstage and in the studio, the awesome and unique tube sound of the 1484 proudly powers the punch of some of today's best rock. 60-watt (2 6L6GC Power tubes) amp boasting "clear, mighty sound!" The catalog listing advertised this amp for guitar or bass usage (Frequency response 40-15K Hz). , and had all the amenities you could want in a medium sized (and priced) package: reverb, tremolo, two channels (bridgeable for even MORE crunch!), two matched 12-inch Jensens Special Design (C12Q). Some great sound hiding under that mild-mannered exterior. 6 pre tubes, 5 silicone rectifiers 12ax7, two 6CG7 of 6FQ7. V3 (which is a 6CG7 cathodyne PI). A lot of the characteristic sound of these amps comes from the phase inverter. . These amps are famous for their nice smooth overdrive but they've also got a sweet clean tone at lower volumes. Introduced: 1963, Retired: 1967 ------------------------------------------------------------------------------------------------------- Mesa M9 Carbine (Cali Bass) - Bass Amp (only in Helix) No Presence. Voice The punch, clarity and speed on-demand attack and crystal-clear definition of the M6's Trans-Classâ„¢ All-Tube preamp and MOSFET power. They love that it's easy to dial and yet offers all the versatility they need via the power of the rotary VOICE feature. The next step in the evolution of this dynamo was obvious. Add substantially more power and endow the preamp ¦enter the M9 Carbine. --------------------------------- Mesa Bass 400+ (Cali 400) - Bass Amp (only in Helix) No Presence Channel 1 Channel 2 500 Watts @ 2Ohms, All Tube, Class A/B Power / 12x6L6, 4x12AX7 Two Channels Fixed Bias Pull Shift Bass &amp; Treble Controls (Standard Mid Control) CHANNEL ONE Volume 1 offer a high headroom preamp that you might find preferable for active type basses. The gain is slightly lower than Channel 2 and the tonal personality is slightly different. The Pull Bright switch built into Volume 1 can be great for funk bass, as it accentuates the harmonics above the Treble control region. CHANNEL TWO Input 2 and Volume 2 recreate the classic sounds of the D-180, The gain is slightly higher and may be better suited for traditional basses than Channel One. But be certain to sample both channels because their tonal personalities are both very usable with very interesting differences. It is even possible to preset the two channels TONE CONTROLS uses traditional type tone controls which have been especially tailoredfor bass, and whose ranges can be extended by use of the Pull Shift switches. The Treeble control, when set high, becomes the most powerful of the three. At settings of 7and above it will minimize the effect of the Bass and Middle, but they will become the stronger controls when the Treble is below 5. Most players find a sweet spot between 2 and 5 where the tonal balance is just right for them. Pulling out the Treble Shift alters its frequency center point downward, toward the upper mid range. (And since there is more musical energy at these frequencies, your amp will seem to get a little louder as well.) Using either Bright switch injects an extra dose of high treble. The Bass control is wide ranging and using the Pull Shift can boost its power. Your Bass when used with our speaker cabinets) can produce more true fundamental tone than just about anything else. Its bottom end response is truly "profound" and yet it avoids boominess and muddiness. The Middle control is the subtlest of the three. Its purpose is filling the gap between the treble and bass frequencies. Spice according to your liking. MASTER Full undistorted power is developed at settings around 5. There is rarely any reason to run the Master above 6 or 7, as higher settings merely increase noise without improving power or tone. ---------------------------------------- Matchless DC30 (Matchistick) (only Helix) No Presence, No Mid, Tone, Cut Power: 30 Watts Controls Ch.1: Volume, Bass, Treble Controls Ch.2: Volume, Tone, Cut control, Bypassable master volume Power Tubes: 4 x EL84 Preamp Tubes: 1 x EF86, 3 x 12AX7 Rectifier Tube: 1 x 5AR4 Features: Dual inputs for each channel, Effects loop Speaker Configuration: Customized Celestion G12H30 and Celestion G12M Greenback The DC-30 was the company's first design and still leads the lineup. Thirty very conservatively rated watts from a quartet of EL-84's, through two channels, each with unique voicing and tone control layouts, produce a world of tone choices. Pure Class A configuration gives rich, complex harmonics whether played clean, mildly overdriven, or with all out power tube saturation. This means you should sound great in any situation, in any music style. Similar to AC30 without breaking, Channel 2 similar to AC15. A long list of musician designed features includes: highly interactive tone controls and circuitries unique to each channel, bypassable master volume, cut control for high frequency shaping. The preamp sections are based on a layout of two 12AX7's in Channel 1 and one EF86 in Channel 2. The two 12AX7's in Channel 1 create a parallel-triode circuit with interactive bass and treble. The one EF86 in Channel 2 consists of a high-gain pentode coupled to a six-position tone switch. Outright benefits include quick dial-in of new tones and an easy return to the settings you prefer. Also high treble cut control, master volume, with a bypass feature that offers flexible control of the power amp section. The power amp is fed by a 12AX7 phase inverter, which drives four EL84 power tubes. The rectifier circuit gives you the flexibility of using one 5AR4 for a quick attack or you can use two 5V4's for a smooth, round response. Sound on the 212 Combo is delivered through two dissimilar Celestion speakers: a G12H30 and a Greenback 25, each specially modified through a proprietary MATCHLESS formula. An AC30 that wouldn't break down, the DC30 also became one of the best-loved and most-used amps of hard-working players in the studio and on the touring circuit. These EL84-based class-A beauties are entirely hand-wired in the lauded point-to-point style, and deliver classic British chime, shimmer, and crunch, but with a certain modern clarity and fidelity and a bulletproof robustness relied on by countless pros. Bolted into one of Matchless rare exotic-wood cabs, they look awful sweet, too. Channel 1 Channel 2 Channel 1 + 2 Jumped:Line 6 add and extra channel Channel 1 + Channel 2 Jumped What is jumping channels?: On an amp with more than one input for each channel (eg Hi and Lo) you use a short lead to go from the unused input of the channel your guitar's plugged into, over to one of the inputs for the other channel. Standard practice on a non top-boost AC-30. By combining the 'normal' and 'bright' channels you get a wider range of sounds. http://www.matchlessamplifiers.com/manuals/DC-30-Settings.pdf --------------------------------------------------------------------------------------------------------- Mesa Boogie Mark IV (Cali IV) (only Helix) Mesa Boogie Mark IV Combo de 85 w de potencia Clase A Simul-Class (en función del tipo y disposición de las válvulas de potencia puede entregar tambi©n 70, 50 30 w). Mesa Boogie Mark IV Un altavoz Celestion C90 de 12. 3 canales independientes con diversos modos de respuesta. Ecualizador gráfico de 5 bandas conmutable y auto-asignable a los canales R2 y Lead. Mesa Boogie Mark IV . Salidas de grabación, línea, Reverb.. 5 válvulas 12AX7 en el previo. 4 válvulas 6L6 de potencia; Selector de válvulas de potencia como pentodo o tri­odo. Variac para respuesta normal (Full Power) o clásica (Tweed). En 1984, Mesa/Boogie sacó al mercado el primer amplificador Tri-modal, el Mark III. Tri modal, porque tiene modos separados para sonido Limpio, sonido Crunch y sonido Lead. El Mark IV, que salió seis años después mejoró notablemente la capacidad de controlar cada canal por separado introduciendo dos perillas controladoras en el panel frontal, optimizando de esta forma el espacio disponible sin aumentar el tamaño tan cómodo y versátil del MarkIII. Es un amplificador completo, tiene de todos los rangos, desde blues, jazz, rock, heavy, incluso metal, tiene unas posibilidades immensas y justo por eso lo hacen especialmente complicado. Rythm1 Gain-Rhythm 1 Gain y Pull Bright Este control define la sensibilidad del canal limpio, en seteos sobre el 8, comienza a causar distorsión, pero en general es limpio cristalino. Cuando está saturado, entrega la sensibilidad a la mano derecha del guitarrista, como para tocar blues, aunque para eso está el canal Rhythm 2. Pull Bright: Le agrega brillantez al sonido. Con Rhythm 1 en valores bajos (de 4 para abajo), se le agrega mucha brillantez. A seteos altos (de 7 hacia arriba), poca brillantez. Rythm2_Gain-Rhythm 2 Gain y Pull Fat Controla la ganancia del canal 2. Es un control muy poderoso; en valores bajos, entre el 1 y el 4, podemos obtener una saturación baja, lo que nos permite tocar blues y ser capaces de controlarla sólo con pegarle fuerte o despacio a la cuerda de la guitarra, un canal limpio alternativo. Pero en valores altos (de 5 hacia arriba), podemos lograr un segundo sonido Lead para nuestros solos. Con mucha ganancia y sustain. Pull Fat: Cuando está desactivado se puede lograr sonidos blueseros controlando el canal sólo con la ganancia y el control de presencia, pero si quiero algo más cercano al rock o heavy metal, hay que activar este control y subir la ganancia a valores lo más altos posible. Es una herramienta muy útil a la hora de ser versátil. Treble Controls El Mark IV tiene tres controles de treble separados e independientes. Uno para cada canal. Es un control muy potente, con mucho que ver con la cantidad de ganancia de cada canal. Influye directamente en esto, y no es menor, porque la mayorí­a de la energí­a del sonido en este ampli está ruteada para ser controlada con estas tres perillitas tan aparentemente insignificantes. Veámoslo ordenadamente, primero los controles para los dos canales Rhythm, luego para el canal Lead: -R1 Treble, R2 Treble y R1+R2 Bass &amp; Mid -Rhythm 1 Treble Entre el 0 y el 3, entrega un tono cálido jazzero, pero la mayorí­a de la gente lo ocupa entre el 5 y el 7. Ese serí­a un punto medio para tocar pop, rock. Por este control pasa mucha energí­a sonora y define el sonido del canal en gran medida. Es primordial. -R1+R2 Bass &amp; R1+R2 Mid (Bajos y Medios para canales 1 y 2) Estos controles regulan la cantidad de bajos y medios de los dos canales a la vez Rhythm1 (Limpio) y Rhythm2 (Crunch). Son los ºnicos controles compartidos en el Mark IV. Estos controles dependen en gran medida de cómo esté seteado el Treble de los dos canales. Si el Treble está muy alto, estos controles de bajos y medios se tornan sutiles y no producen gran cambio en el tono general. Ahora, mientras más bajo esté seteado el Treble, los bajos y medios resaltarán. De todas formas los controles de Bass y Middle sirven para redondear el sonido y darle un poco más de definición. Por lo tanto hay que trabajar bien el Treble primero y luego redondear con bajos y medios. -Rhythm 2 Treble Funciona muy parecido al Rhythm 1 Treble, mientras más alto, más ganancia y sustain para el canal, mientras que en valores bajos predominan los controles de Bass y Mid, dando más calidez al sonido. Este control debe tratarse en conjunto con el control de presencia correspondiente al canal. -Presence Controls Hay un control de presencia para cada canal en este ampli. La presencia por lo general se refiere a un realce de los medios-agudos y un poco de bajos. Mientras más presencia, va a sonar más brillante y más cálido a la vez con un poco más de definición. A menor presencia, se logra un sonido más opaco. Los canales Rhythm2 y Lead, tienen una función Pull. Si uno tira la perilla hacia afuera, el control de presencia actúa en un rango más alto de frecuencias, permitiendo obtener un sonido más filudo que nos ayude a sobresalir en situaciones en que la banda en la cual tocamos lo haga a volumenes muy altos. Si la función pull está desactivada, se logra un sonido más agresivo a lo Angus Young de AC/CD. Aunque la notoriedad del cambio de presencia al girar la perilla disminuye. -Canal Lead El canal lead cuenta con control de ganancia (Gain), Treble Bass y Mid independientes, y un Lead Drive que actúa en conjunto con el control Gain. El control Gain regula la cantidad de ganancia que entra al amplificador (input gain) y tiene la opción de Pull Fat, que produce el mismo efecto que en el canal Rhythm 2 agregando o restando cuerpo y peso. Una vez más el Treble define el sonido aquí­ y manda. Los otros controles Bass y Mid sólo redondean el sonido y lo pulen. El Lead Drive ajusta la cantidad de distorsión en el sonido, si quiero tocar metal tengo que subir el gain y el drive a tope. Si quiero distorsiones más vintage o british, lo hará seteando estos controles en valores bajos. Este control tiene Pull Bright, lo que ayuda mucho a la hora de definir el sonido de una distorsión para que no suene opaca y poco legible. Le agrega rango agudo, por lo tanto las notas suenan un poco más dulces y precisas. -EQ Gráfico Este ecualizador gráfico sirve para cortar o realzar rangos de frecuencia que nos pueden resultar molestos en algunas situaciones. Cali IV Rhythm 1, based on* the Rhythm I channel of the MESA/Boogie Mk IV Cali IV Rhythm 2, based on* the Rhythm II channel of the MESA/Boogie Mk IV Cali IV Lead, based on* the Lead channel of the MESA/Boogie Mk IV Each channel is a landmine of push-pull pots that have some pretty significant impacts on tone . Add this to the Full/Tweed, Simul-Class/Triode, and harmonics/Mid-Gain rocker switches... The philosophy for the amp modeled when it came to all the tone switching is to try and use the more common setting for each feature. Also, some settings seemed to limit the range of the knobs, and in that case, It'd use the setting that gave the most adjustment range. So, It used full power and simul-class. The harmonic/mid gain was set to harmonics. The three presence knobs were pushed in, which gave the most difference in the power amp from channel to channel. The negative feedback changes on a per channel basis. ---------------------------------------------------------------------------------------------------------- Hot-rodded Marshall JCM 800 (Line 6 2204 Mod)(Only Helix) Line 6 Original based on a Hot-rodded Marshall JCM 800. Hot rodding would usually entail internal modifications to the amplifier. This could just be changing the odd resistor/pot/cap value to change drive levels, tone etc... Or it could actually be a change to the signal path itself, such as adding and extra gain stage or wiring two different inputs in parallel on older marshalls. Marshall with extra gain mod. The original intent of the term "modded Marshall' was to achieve the added gain without resorting to a pedal. For instance GnR album Appetite for Destruction, was recorded with a Hot Rodded JCM 800. Hot Rodded Marshal JCM example, 12ax7 (ecc83) added, using triode: -------------------------------------------------------------------------------------------------------- Line 6 Fatality, Line 6 Original&amp (Only Helix) It's a heavily modified Mesa Rectifier. It sounds a bit like a Mark V Extreme setting. ---------------------------------------------------------------------------------------------------------------------- Paul Reed Smith Archon (Archetype) (Only Helix 2.10) Archetype Clean, based on* the clean channel of the Paul Reed Smith Archon Archetype Lead, based on* the lead channel of the Paul Reed Smith Archon PRS Archon/Archetype- a spongey, driving type of modern tone. Lots of gain without brutality. Great sounding amp!! Beefy cross between a Marshall and a Mesa. PRS Archon Head, all-valve, 100/50 watts, 2 channels, , fixed Bias, 6x 12AX7 preamp tubes, 4x 6L6GC power amp The Archon Twenty-Five features six 12AX7 tubes in the preamp section, a duo of 5881 tubes in the power section, and a solid state rectifier. The amp is hand-wired. The pots are all high-quality Alpha pots and the tubes are mounted directly to the chassis. The Archon offers individual Volume, Treble, Middle, Bass, Master Volume, and Bright switches for both the Clean and Lead channels and global Presence and Depth controls. -------- The Clean channel is rich a dimensional and stays clean to almost full volume. Reminiscent of the mesa and soldano cleans. The versatility of the three-band EQ lets you dial in tones from across the decades and across genres. Placing the Treble and Bass around 3 oclock, the Middle at 9 oclock, and the Bright switch on, the Archon is capable of a surprisingly accurate blackface approximation. Playing Tele and running a Tremolo and Reverb in the loop, It could easily cover country and surf. Dialing the Treble and Bass back to noon and cranking the Middle to 3 oclock creates a more British sounding clean tone. Cranking the Clean volume and Master volume makes a sound that made me think of Pete Townsend and his Hiwatts. The tone has a little power tube grit to it, but its big, rich, and percussive. The clean channel is excellent and also takes pedals very well. -------- The Lead channel starts out in hot-rodded Marshall territory and quickly works its way up into modern high gain tones. As long as you keep the Lead volume below noon, you can always clean things up with the volume knob on your guitar. If you crank the Lead volume beyond noon, totally higain. Lead volume around 9:00 or 10:00 range of dirt tones and the way in which the Archon allowed the nature of each guitar. The three-band EQ adds a ton of versatility. You can scoop the mids for more modern sounds or push them for classic rock tones. With Treble and Bass at noon, Middle at 4 oclock, and the Bright switch off, the Archon is a ˜60s and ˜70s rock monster. For an amp with this amount of gain, the Archon is amazingly low noise. To the extent that even hitting the above-mentioned classic rock tone with the extra gain of a Park Fuzz Sound didn't add any hum or hiss”it did make for a ripping lead tone, though. The fact that the Lead channel can handle the extra gain and harmonic content of a fuzz pedal demonstrates just how articulate the Archon is. It should come as no surprise that with the rich distorted tones of the Archon, the collection of dirt pedals were neglected. But pedal fans fear not, the Archon is one pedal-friendly amp (especially with the versatile EQ). Dirt pedals come out sounding large and natural. Pairing the Archon with a klon gave me instant access to four distinct tones from pristine to mean. It has the clarity of gain of an Engl meaning you can pile it on if you feel the need and it won't turn to a fuzzy mushy mess, but isn't as overly tight or stiff and compressed as an Engl can be. It has a bigger bottom than the Engl too, nice chunk, but not a flabby mess like a Dual Recto which needs a boost in front to tighten it up. The mids seem to sit in a real good slightly lower mid place where they don't have any upper mid honk but aren't overly scooped when set half way either. It's got good cut and clarity on the top end with a nice bite than isn't as aggressive a bite as a Soldano or Marshall can be. ----- Cross between a Mesa Dual Rectifier's larger-than-life delivery and a fluid, midrangy Marshall. Cranking the master volume to 11 o'clock was like waking a dangerous beast. Here the amp is blisteringly loud, and the low end feels like a medicine ball to the ribs. Thanks to the responsive EQ and presence controls, The overdrive channel is remarkably flexible. Setting the controls at noon with the gain knob at 11 o'clock produces modern hard rock tones perfect for drop-tuned Tool and Alice in Chains riffs. Raising the presence and treble knobs while dipping the midrange to nine o'clock provided fast low-end response well suited to old-school Metallica-style thrash. Boosting the mids while pulling back lows and highs is perfect for barreling '70s/80s British metal. The amp's brawny midrange makes it slightly trickier to achieve the razor-like edge needed for some extreme forms of modern metal, but the amp handles low B, A, and even G tunings exceptionally well, never sacrificing tightness or detail, even within full chords. The Archon has such ludicrous amounts of gain on tap that you don't need to do much dialing to obtain enormous tones. If you're willing to make the power amp sweat a bit, you'll find that many of the Archon's tightest and heaviest tones don't require preamp saturation. ----- It was modeled with the bright switch in the ON position (Lead) . The bright switch is entangled in the tone control circuit, and when the bright switch is set to off is shunt some high frequencies to ground. When it's set to ON, it's pretty much a standard tone circuit topology. The tone control circuit is highly interactive, and when the bright switch is off, it becomes highly interactive in a different manner. I knew I could match it well with it in the ON position, so I did that. While it's possible to match it in the off position, I'd have to have a whole second tone circuit running behind the scenes, using DSP. Plus, I did use a little personal preference, so I just modeled it in the more classic "on" position because that sounded better to me. Clean channel model has bright switch On-Off modeled. ------------------------------------------------------------------------------ Line 6 Litigator (Only Helix 2.10) new Line 6 Original inspired by boutique mid-gain amps Smooth-overdriving, easy to play, boutique mid-gain. The "Litigator" was born not constrained by making a model that matched a real world amp. It started from a Fender place like so many of the boutique amps, moving the tonestack to a different location later in the circuit and also tone stack cap values and ranges (wasn't constrained by the real world, low pass and high pass filtering before each of the gain stages). driving knob adjust frequency responses in various places in the circuit (fine tunning the knees of how the individual tube stages entered clipping). Tunning the power amp to make it distort in an idealized way. Adjusting the sag so that it reacted in a ideal way. Based on a heavily modded Fender and then hammered on and tweaked. It wouldn't be impossible to make in the physical world, but it might get a little messy. removing a lot of the noise and irregularities that people find unpleasant, but adding just enough of the wrong things so they enhance without being a distraction. It's like a vintage amp with movie magic color correction and hyped depth of field. Like a dirty Vintage Deluxe, dumble-esqe, very smooth, mid-gain, edge-of-breakup model. In the same general neighborhood as the Pete Anderson Deluxe model that was in the HD model packs, but with more gain on tap. Low Overdrive type amp in the Helix to give me a usable sound right out of the box, sounds awesome with the new drive model (Stupor OD “ BOSS SD1). Distortion Stupor OD (Mono, Stereo), based on* the BOSS SD-1 Overdrive Stupor OD- The Stupor OD strikes me as similar to the Klon with more gain - sort of a good, general sounding breakup without drastically changing the amp's frequency response. Delay ; Pitch Echo (Mono, Stereo), Line 6 Original Pitch Echo- a weird effect for people who like weird effects, only usable with cents tone variatios (chorus delay). ---------------------------------------------------------------------------------------------------------------------- New amps and Preamps added in Helix Firmware 2.20 (30 March 2017): Line 6 Badonk, all new Line 6 original inspired by the original high gain Big Bottom model Big Bottom model from the XT code and rebuilt using the new tools so that the overall EQ and pre-post distortion filtering matched. The previous tone stack was a little limited, so it was tuned up the tone stack to taste to have more range and be more realistically interactive. The old model was really more like a preamp than a full amp model, so it was added the power amp from the Fatality model (mesa rectifier mod), which I then tweaked slightly to reinforce the overall EQ curve of the Big Bottom. Line 6 Big Bottom Just can't seem to get enough bottom end out of your cabinet? Try punishing it with Big Bottom. We crossed a Boogie Triple Rectifier with a Rivera Los Lobottom sub rig and dialed it in for serious disembowelment. But it's not just about the bass. A super wide midrange control and an extra presence high midrange maintain articulation and power throughout the tonal range of this amp. Tone Secret: The Big Bottom does not have a crap-load of low frequency. Instead, it is an amp with a slightly more than average amount of low end that can really hold together when it's being fed a lot of low frequency. It holds together well with heavily detuned guitars. Woody Blue, based on* the Acoustic 360 bass amp No Master --> Should be set as 10 Volumen = Gain Variamp (Effect?) Fuzz? (Not modeled) Chief proponents: Larry Graham, John Paul Jones, Jaco Pastorius The volume of guitar amplifiers was on a hyperbolic curve throughout the entire 60 decade (Everly Brothers in 1960 and end with Jimi Hendrix in 1969), the volume differential is huge. The Ampeg B-15 was simply not designed to win a head-to-head collision with a Marshall stack set to kill. Something had to be done on behalf of bass players everywhere. In 1967, enter the Acoustic 360, a 200-watt, solid state head designed to drive the 361 cabinet, a rear-firing 18 speaker enclosure modeled, I believe, after the Panzer tank. The 360/361 absolutely towered over the B-15, physically and sonically, and got the bass world ready for the Woodstocks, Altamonts and giant festival concerts to come. Tone, punch, clarity, and volume. One of the coolest features is the Variamp Control: 5 section EQ, position 1: 25 175 Hz, position 2: 75 150 Hz, position 3: 150 300 Hz, position 4: 300 600 Hz, position 5: 600 1200 Hz. The Variamp has a cut / boost control, straight up is out of circuit. A tremendous amount of tone shaping! * Bright switch * Volume control * Treble control * Bass control * Fuzz tone control? --> Not modeled? * Electronic tuning fork: 5 ½ octave tone generator, its very weird (Modeled) In December of 1967, the Acoustic 360 actually helped The Doors get arrested for noise violations and put them - and the amp - on the cover of Life magazine. This notoriety had a very predictable response, which is that it made the amp a must-have for serious rockers who would love to be arrested by The Man for bass notes alone. Not that this was an easily accessible piece of gear. The suggested retail price of the 360/361 package back in 1967 was $1250.00, which in 2014 dollars comes to USD$8,850.00 Not. A. Typo. There is not, to my knowledge, another bass amp that costs nine grand, unless you're cutting an SSL console in half and dragging that around, which is actually a pretty awesome idea. Nevertheless, price be damned, the best bassists of the era knew that this was a killer amplifier. Larry Graham himself used these towering stacks for the thumb, the stank and the funk. Led Zeppelin's virtuosic bassist John Paul Jones had to keep up with Jimmy Page, for the love of Pete, and with the Acoustic 360 .Jaco Pastorius saved all his money (legend has it, sleeping on the beach when his bandmates on the road slept in hotel beds) and eventually purchased an Acoustic 360, which gave Jaco's fretless J-bass that instantly-recognizable bump in the upper-mids that provided him bassdom's most enduring, original voice. Acoustic USA in 2011, launched its website and introduced a new version of the 360/361 bass amplifier as well as various speaker cabinets and a power amplifier. Del Sol 300, based on* the Sunn Coliseum 300 bass amp Sunn Coliseum 300 Head. Solid state amp made in the USA. 300 Watts @ 2 Ohms. Also works into 4 (200W) and 8 Ohm 120 w cabs. Compresor 2:1 ratio Contour 6 db 60; 3db 500 hz; 6 db 4khz Master Electronic corssover: from 100hz to 1khz (Not modeled) It sounds very warm and close to a tube amp sound. The EQ controls give loads of different tone options More compression is possible with the gain control Old SS amps have a raw warmth and character It's got a great strong tone, and the eq is extremely flexible and powerful.There are filters "in between" each band of the EQ, so they don't effect each other. You can boost the 62.5hz, and not effect the 125hz, so on. Which is the exact opposite of say, the Fender tone stack, where you turn down the mids to turn up the other stuff. lobass 62.5 hz --> fat bass 125hz hibass 250hz --> punch low mid 500hz hollow mid 1khz and himid 2kz presence and snap hi 4khz metallic and brittleness These were made from about 1981 to 1985, Fender bought SUNN - 1x12 Del Sol, based on* the Sunn Coliseum 300 bass cab (12 speaker) - 1x18 Del Sol, based on* the Sunn Coliseum 300 bass cab (18 speaker) Busy One , based on* channel 1 of the Pearce BC-1 bass preamp Very Rare Preamp made famous by Billy Sheehan. The Pearce Pre-amp is just a supremely great distortion and clean. This pre amp is solid state. It has 2 channels, which can be used separately or coupled, w/ built in distortion. It has a -10dB/0dB/+10dB switch (pretty cool if you need less or more punch without having to change your settings all the time). Each channel has a gain - bass - mid range - mid - treble - volume controls and built in compressor/limiter with adjustable threshold. Each channel can be used separately, or combine them to create a wide range of tones. Busy One Ch1, based on* channel 1 of the Pearce BC-1 bass preamp Busy One Ch2, based on* channel 2 of the Pearce BC-1 bass preamp Busy One Jump, based on* channel 1 and 2 (jumped) of the Pearce BC-1 bass preamp
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