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  1. To follow up...obviously I didn't get it done for December, but that's because the book's 1.2 update has had "scope creep" :) The section on mics has been redone completely, and I have a new way to do frequency response analysis that I've applied to the new amps, new mics, and old mics. I also got permission from Line 6 to consolidate all the release notes since 3.0 as an Appendix (thanks Line 6!). The updated book is done, all that remains is updating the presets that come with it. So it's not too far away. Also, it will be a free update to anyone who has the 1.0 or 1.1 version.
    6 points
  2. Hey all, So this weekend my HX stomp's rotary encoder #2 (of 3) went bad. The switch mechanism either gave out or was crushed internally, not sure. However, it stopped receiving button presses on encoder 2 under the screen. Long story short, I spent hours looking up posts, parts, sites, and came across what seemed like a compatible match. I soldered in the part a few moments ago and it works like OEM! I hope this helps anyone looking for the part. With ALLL that said, I can't guarantee that his works for the Helix as it does the HX. I've taken apart both units a few times for maintenance, however I just can't recall what was in the Helix Floor. Likely the same part. Here's the info: Digi-Key Part Number: PEC11R-4015F-S0024-ND Manufacturer: Bourns Inc. Manufacturer Product Number: PEC11R-4015F-S0024 Description: ROTARY ENCODER MECHANICAL 24PPR Encoder Type: Mechanical Output Type: Quadrature (Incremental) Pulses Per Revolution: 24 Actuater Type: Flatted D 6mm Detent: No Built in Switch: Yes Mounting Type: Panel PCB Orientation: Vertical Termination: PC Pin DigiKey Link: https://www.digikey.com/en/products/detail/bourns-inc/PEC11R-4015F-S0024/4499668?utm_medium=email&utm_source=oce&utm_campaign=4251_OCE23RT&utm_content=productdetail_US&utm_cid=3294583&so=79660503&mkt_tok=MDI4LVNYSy01MDcAAAGJeZwhRZlHpMczuFUKJJnBAI1cw3UpEiZQU9lj1m6djk3uIrKIfkkv702-v2drrxYburU4cGCOMTLMqBRAgNp_JnbIz01ZS88mDLPy61Z9
    4 points
  3. I've been working on the 1.2 update to The Big Book of Helix Tips and Tricks, so among other things I've been checking out the 3.50 effects in depth. The FlexoVibe is pretty unusual, so I thought y'all might appreciate what I've found out so far. Here's an excerpt, I hope you find it helpful as you check out the various parameters. This Line 6 original effect modulates amplitude, phase, and (in stereo mode), stereo image. If there’s any other effect out there like this, I certainly haven’t heard it. Line 6 considers it a chorus, but to my ears, the sound has more in common with a phase shifter. Note that choosing mono or stereo gives very different characters. Stereo is definitely optimum. Rate isn’t calibrated in Hz, but I’d estimate the slow speed is around 0.1 Hz, and the fastest speed, 4.5 Hz. Intensity determines the amount of modulation. Warp controls the LFO waveform, but this also varies according to the Intensity setting. Fig. 2.38 shows the audio output at different settings. The test frequency was 400 Hz. At lower frequencies, the peaks have a downward dip. Figure 2.38 In Clockwise from upper left: Intensity = 5.0, Warp = 0.0. Intensity = 10, Warp = +1.0. Intensity = 10, Warp = ‑1.0. Intensity = 10, Warp = 0.0 Spread is available only in stereo mode, and sets the phase offset between the two LFOs. This also affects the stereo image. At 0.0, the image is essentially mono. 10 gives the most pronounced stereo separation. 5.0 splits the difference between those two extremes. Mix works as expected. 0% has no effect in the mix, while 100% has no dry sound mixed in. The effect is most pronounced at 50%. The waveforms in fig. 2.38 are more like snapshots that give a general idea of how the modulation affects the audio output. Because phase shifting is involved, the waveform looks different at different frequencies. The main takeaway is how Warp alters not only the shape, but different attack and decay characteristics. Tip: In either the stereo or mono mode, for a vibrato effect set Warp to 0.0, Spread to 0.0, and Mix to 100%
    4 points
  4. Thank you for the mention. Part of the reason for writing The Big Book of Helix Tips and Tricks was to encourage people to create their OWN sounds. I can truly say that I have never used the Helix to try and get a specific sound, other than the ones I hear in my head. Helix has such an incredible toolset for making sounds that go beyond what has been around for, let's face it, over half a century. Besides, sounding like someone else doesn't mean that you'll play like someone else. I totally understand that when starting out, it can feed one's enthusiasm to be able to appropriate the sound of an admired guitar player. And it makes sense that if someone can get a sense of instant gratification from Helix, they might be less likely to abandon learning guitar. But if you get stuck in the mindset of copying guitarists you admire, you won't become a guitar player others admire. Make a statement - your own statement. Individuality! Jeff Beck didn't become Jeff Beck because his goal was to sound like Buddy Holly.
    3 points
  5. Hey gang! I made a short video recently about how I set my presets to make them as dummy-proofed as possible. I've taken my Helix on the road many times so far, and here are some of the recommendations that I have.
    3 points
  6. In this world of instant gratification players often forget that yes... it did/does take countless hours of learning in order to create great tones. We do it differently these days, but putting in time is still not an option. IMO the learning never ends, you just get better/quicker at it over the years. Could Line 6 provide some better guidance/presets? Maybe. There is no shortage of discussions and video's on these subjects already and personally I would rather Line 6 work on the product(s), not enhanced training. For that we have Jason Sadites, Craig Anderton, and many others already.
    3 points
  7. If you already know how to setup your guitars and/or basses, great! If you don't, it's not hard and its not expensive. The basic tools are very affordable (and will pay for themselves in time). There are tons of great, free tutorials on youtube by experienced luthiers. Start with a least-cherished guitar, and work your way up from there. In time you'll learn how to tweak all your guitars to get their action and intonation right where you want them. Happy New Year!
    3 points
  8. You can if you make it idiot proof like I did. Fast, no guessing, never a wrong connection. Some custom length cabling. Some coloured heat-shrink. Some coloured nuts. Took me about 2-1/2 hours to fabricate once I got all the stuff needed to make the snake.
    3 points
  9. Not possible. Tone is ENTIRELY subjective. One person's killer tone is another person's hot garbage. The final playback system is a HUGE part of the sound. What sounds great through one person's $3k Genelec monitors sounds like trash through a pair of $50 3.5" computer monitors. Your Marshall amp sims might sound great through the FX Return of a DSL40 Creamback, but your Fender amp sims probably won't sound all that great through the DSL40. Neither is likely to sound great through the input/preamp section of a no-name transistor amp with an 8" speaker. Some companies do factory presets better than others. FAS, for instance, tends to score better. I would contend that if you can afford an AXEFXIII, you probably have a decent or better playback system. Factory presets are, IMO, mostly intended to showcase a modeler's capabilities. They are not intended to showcase tone so much as "How To" technique because, all of the above, and NO modeler I've ever seen has a "Use THIS preset for INSTANT GRATIFICATION even through a $30 pawnshop boom-box!" preset.
    3 points
  10. There are like billions of discussions, examples, video tutorials from hundreds of players, line 6 live tuts on youtube and facebook, covering every single Helix/HX aspect. I mean, billions, literally.
    3 points
  11. Well, I dont want to falsely raise hopes, but Digital Igloo popped into The Gear Page earlier, and when asked if there was any news 're Pod Go firmware upgrade, he said ( cryptic as always of course): "No points for guessing, but it's a lot trickier adding [obvious thing I can't technically divulge] to POD Go. It might take a while, but it's still coming." We'll have to wait and see of course, but I wonder if Line 6 might be working hard to try and give Pod Go owners a 'Cabby New Year' ?!
    3 points
  12. Nobody from L6 hangs out here. Go here: https://line6.ideascale.com/c/ Do a search for Mesa and/or Triple rectifier and vote for all of them.
    3 points
  13. 100% SCAM Registrar is namcheap.com, which is the loved by scammers; https://shkspr.mobi/blog/2021/05/why-do-scammers-love-namecheap/ Site name has been registered on 26 December 2022, from IS (Iceland). Address is a well known fake address used by hundreds of scam sites. Registrant Contact Information: Name; Redacted for Privacy Organization; Privacy service provided by Withheld for Privacy ehf Address; Kalkofnsvegur 2 City; Reykjavik State / Provincep Capital Region Postal Code; 101 Country; IS Phone; +354.4212434
    3 points
  14. In Ableton, on the track strip there's a section called MONITOR with 3 settings - IN, AUTO and OFF. If you have that set to ON or AUTO while recording you'll hear the incoming signal. If you're Direct Monitoring at the same time it will be delayed by the latency amount and at higher latencies can sound like an echo. If the sound that you're recording also has delay/reverb it might not be obvious. When DIRECT MONITORING set that to OFF. Playback will work as expected.
    3 points
  15. Action too low Fret buzz/rocking frets Pickups too close to the strings
    3 points
  16. Frankly I find these DSP spec comparisons a little bit silly given the purpose of DSP which is simply to do digital signal manipulations in a real time processing setting. The purpose is to transform a digital signal representation of the results of a given (usually analog) circuit. DSP limitations aren't typically about the quality or precision of the transformation (although it could be in some cases) but rather the amount of latency in that transformation given this it meant to be used in a real time signal processing environment. If the transformations are reasonably accurate, faster transformations won't likely make them MORE accurate in any distinguishable way, but it could reasonably result in less latency allowing for more transformations. In practice none of this affects me since I never run low on DSP because I use the DSP efficiently and have for over 8 years. In my opinion and practices adding faster or more DSP only services the needs of people that don't use the DSP efficiently.
    2 points
  17. If it runs on M1 pro (and it does as i have one), it should also run on M2. Be sure you didnt ran out of activations.
    2 points
  18. The bass player in our group is perfectly happy going direct to the mixing board with just a Yamaha DXR12 floor monitor with the high pass filter turned off. That, along with our QSC sub woofer gives him a great sound.
    2 points
  19. I wouldn't care much of FRFR for Bass honestly, and I'd just hunt for a good PA 15" speaker, with a "flattish" response giving you some juice at 40Hz without have to implement a subwoofer. Even something capable of producing -3dB at ~55Hz would do the job. That's if we are talking about a standard 4 strings bass, tuned E standard. If you go lower than that, maybe with a 5 strings, you need big and heavy stuff. It always depends what you need for; gigging? bedroom practice? stage monitor? 8" for bass is a bit weak (the 108 FR starts at 52Hz at -12dB, your E string fundamental sits at 41Hz), unless you are playing at bedroom levels and you don't care much for fundamentals.
    2 points
  20. This. Information on the site is very misleading.
    2 points
  21. Hi, Well it looks to me that these guys have a contact form at the bottom of their website pages -drop them a line, as they are the folks who would know exactly what is in the pack and what they will load into. https://www.theampfactory.com/downloads/category/irs/ Although, it looks like a lot of cash investment if you only need that one IR of the WEM Starfinder? Hope this helps/makes sense. EDIT: If you only require the Fane model - this guy has these. https://giacomopasquali.store/products/uem-starfinder-412 Ah ha, Fane Acoustics, there’s a blast from my past - My late mother worked as the Personal Assistant and Secretary to one of the founding partners (Dennis Newbold - the NE part of the FANE name) back in the late 60s and early 70s. I recall her telling me about the visit of some very polite, but long haired, young men who came to check out some new speakers. She said they had a very strange name - Pink Floyd.
    2 points
  22. You can't use .wav files in AxeFx. You always need to convert to .syx via CabLab. I would find odd that they are selling a package that needs to be converted, so Im guessing they are just using a wrong term for that product. At this point I'd ask them if they are actually .wav or .syx. I have many commercial iRs, multiformat, and those for AxeFx are all in .syx.
    2 points
  23. Imho your best option here is to create your own kill switch pedal to be placed between guitar and helix (or whatever pedal you have in front of helix). Still not 100% like a real kill switch, but at least you can build something fast and reliable, that does what it should and sounds properly. You'd just need a little metal enclosure, a grounded (and fast) SPST button that you can step on quickly, and two mono 1/4" jacks. Wired Tip to Tip and Slave to Slave, then the switch placed in between the tip of one of the two jacks, and the slave of the other. When you press the switch you'll send signal to ground, and that's it. The important part here is that the circuit MUST be placed BEFORE any preamp, as if you place after a preamp you are shorting its loaded signal, creating a loud POP. Or just buy one of these; https://saturnworkspedals.com/product/kill-switch-pedal/
    2 points
  24. !!SOLUTION!! I had an issue where my expression pedal stopped working. I reset to factory settings, ensured I was on the latest firmware, and checked settings. The pedal wouldn't toggle between EXP 1 & 2 and wouldn't register any input at all which was unlike any other issue I saw on the forums. I decided to take my pedal apart to see if I could find the issue and to my surprise and relief, the cable connecting the pedal to the board had become detached. Each connector appears to have glue holding it in the socket as opposed to a clip and in my case the glue had broken and the cable had detached. I've attached pictures below pointing out the cable to look for. I didn't think to take a picture before reattaching it and didn't want to risk detaching it again. I hope this helps someone in the future. **Note: I would recommend keeping track of which screw goes where when taking the pedal apart. A few are different sizes**
    2 points
  25. There is no touch menu on the Helix, just "touch capacitive" footswitches. Global Settings > Footswitches > Stomp Select Set that to "Touch" or "Touch & Press"... Touch the button with your finger, not a foot in shoes. It will react to bare feet, and sometimes feet in socks.
    2 points
  26. Hi rd2rk Don’t beat yourself up on this… to be honest, we don’t really know the correct answer. Except what we can make a qualified guess on it, but still, only Line6 have the answer… and I think they have had a lot of opportunities to “correct you” and let us know how we should interpret what’s in the manual and how we should expect the PC to behave. Page 10 - “Each speaker is comprised of a 12" low frequency driver, with a 1" high frequency compression driver mounted in a coaxial configuration.” Page 10 - “An added benefit is that these models provide a variety of speaker tones that can still be captured through a microphone at any placement, thanks to the coaxial speaker system design.” Page 10 - “Powercab 112 includes the first six speaker models in the list below, as well as HF OFF / Natural” Page 13 - “Intended to respond like a real guitar speaker for a traditional "amp-in-the-room" experience. This mode applies different tonal characteristics of the selected speaker model to the system's coaxial driver, with the following adjustable parameters.” “coaxial configuration”, “coaxial speaker system design”, “HF OFF/Natural”, “model to the system's coaxial driver”… hard to say what they mean. They use different way to describe things without declare it with a conclusion. The interpretation of it depends on “which glasses” you wear for the day… I have red yours and amsdenj conversations and my own conclusion is that we will not know until (1) Line6 come with an explanation and (2) come with an update (probably both HX and PC firmware/edit) that streamlines the operation and eg give better control over L6 Link. Preferably describe what behavior to expect and use the same “wording” for the same thing. Eg, for myself (have the PC+ 112) – I have not had much luck with the “amp in the room speakers” (no Cab in the preset, even tried the Neutral, but didn’t like it), and I did invest time on it in the beginning. Now I only use Flat/FRFR mode (3.50 update of the Cab’s really did it). A week ago, amsdenj proposed to use LF Raw without Cab’s in the preset. I tried this a couple of days ago and that was a very positive experience… (had only tried it with Cab’s in the preset before, both LF Flat and LF Raw, no success), thanks for that recommendation. Will do further testing, but looks like a winner :-) So rd2rk, don’t update all your post… I guess the statement in this everyone will be read and commented on it (maybe the TGP “future of Powercab” thread if necessary). With some lock even Line6 :-). If you or amsdenj makes a post I always read them, I learn something every time. And so do others. Take care //Per
    2 points
  27. Perhaps the difference depends on how the patches are edited. The 212 HF driver bug is that the changing Mode and Voicing using HX Edit or Helix does not effect both left and right HF drivers. If you make all the changes directly on the Powercab, you will find that the HF Compression Driver is only on in Flat:FRFR or IR modes.
    2 points
  28. Finally fixed the problem with idea scale, turns out it was my add blocker preventing me to access the accept cookies popup on the site. So it was not Safari after all. Hope this helps anybody with the same problem!
    2 points
  29. Nothing is "dummy-proof" to a sufficiently qualified dummy!
    2 points
  30. I use the simple/basic little GAIN block at the front of every preset to manage input differences. It's very light on resources and adds no color to your tone. Unlike boost pedals, the gain block can also cut signals which is handy for those really loud instruments. No tone change, just volume.
    2 points
  31. Happy Studio One 6 user here. To be honest.... I always use a dedicated audio interface and never have an issue. Your Scarlett works fine... I'd just stick to that. I know that's not much help.... I just find the efforts are not worth the trouble when there is a solution already at your fingertips. The wait for a fix could take a long time. There have been a few threads of users having issues with the current audio drivers. Ironically, those were Cakewalk users which you say works fine... go figure. Their fix was to "downgrade" the Helix audio driver, not the firmware. Perhaps that will also work in your case with Studio One?
    2 points
  32. Nah.... we just don't look for answers to problems we don't have. If you've never had the need to separate them, why would you!
    2 points
  33. I'm having a bad week...
    2 points
  34. I typically place a 10-Band EQ block last, just before the output block. This allows me to compensate for volume on a per snapshot basis without having to adjust amp blocks that might change the tone but it also allows me to compensate for distortion blocks being activated or deactivated per snapshot. Some distortion blocks seriously alter the EQ of the signal. Sometimes I like the particular kind of "hair" a given distortion block provides but not so much the EQ it imposes. I like having the ability to correct for such things before final output.
    2 points
  35. Actually, they can be either/or :) From page 63 (Global EQ section) of the manual.... "Global EQ is applied to all setlists and presets and can be heard from the 1/4" outputs, XLR outputs, or both." I keep mine set to XLR outs which is my FRFR. The 1/4" outs go to a DI prior to heading to the FOH/Monitors. That's the answer!
    2 points
  36. Hi, First up, in here, you are preaching to the converted - There are no Line 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” If you think that having the 3.15 Update pinned is bad, then go across to the Helix Native forum where the top pinned post is for the Helix Native 1.50 Release Notes last updated by Digital Igloo in January 2018. The place where Line 6 staff hang out and sometimes respond to posts is over on The Gear Page (Digital & Modeling Gear) or the Facebook Helix Family group. As for notification of the v3.51 update to HX Edit and Helix Native, regular forum contributor @HonestOpinion posted this on December 2nd 2022. I realise that it seems like Line 6 just don’t care about these forums, but they have been rather busy providing some pretty slick updates to the HX range of products. Hope this helps/makes sense.
    2 points
  37. I just run a PC... and let Windows Defender do it's thing. I also keep the free version of MalwareBytes on my system that I can run on demand... it doesn't load/run in the background. I hate those AV suites with a passion.... Norton, McAfee, Kaspersky, etc... etc....To say they are resource hogs is an understatement. I'd rather use the processing power for something else. I just keep it simple, and use common sense with accessing the web! I also keep multiple redundant backups.
    2 points
  38. Read this: Recording Levels: Digital Recording | Should you be Tracking at -18 dBFS? (decibelpeak.com)
    2 points
  39. I found the youtube videos on amp and guitar tone to be convincing, and the methodology sound. I hope they aren't faked or bs. Has anyone offered proof are a convincing argument on "other forums" that the videos are bunk? Or are people "debunking" because they can't take the truth or because they overspent on a false belief?
    2 points
  40. Yes, I would position the Drop pedal before the POD Go. I expect that the detuning done by the Drop pedal will be more accurate with a raw signal than with a processed signal.
    2 points
  41. If you look up the address on Google Maps and use Street View, this looks the shop. I wouldn't go there after dark. Or without a gaggle of pit bulls.
    2 points
  42. If that were the case audiences all over he world would be in a revolt against anyone using a Helix since most Helix units go directly through a PA system. That's kind of what they're designed to do. Going direct through a modern powered speaker is pretty much exactly the same as going direct through a PA. Of course not all powered speakers are equal as you tend to get what you pay for. As for myself I haven't gone through anything other than a modern powered speaker (mostly Yamaha DXR12 or QSC K10.2) in 8 years and have been perfectly happy.
    2 points
  43. As a reminder of what was recently discussed in another thread, search for "Slope" in IdeaScale. The first three hits are worth considering if you wish to vote them up. You can also post another if specifics of what you seek are not sufficiently detailed. If you do post a new suggestion, post the link here for all to consider voting it up. Happy New Year (a bit early) and here's to 2023!!
    2 points
  44. As long as you are not PLAYING through a plugin, latency is not an issue even with the Helix drivers. Simply RECORDING the Helix over USB, while MONITORING direct (Helix to speakers) is the proper use of Helix and you don't need anything else. Once you have a recorded track, any latency involved in recording additional tracks while monitoring the previously recorded track (still DIRECT MONITORING Helix) is compensated for within your DAW. Again, you don't need anything else. Save your money for more guitars!
    2 points
  45. 2 points
  46. Thanks for the mention, but regarding the OP, I did not analyze the filter topologies (e.g., Butterworth, Sallen-Key, Chebyshev, Bessel, etc.). However, I didn't see much ripple, so I'm assuming Butterworth is the dominant Helix filter lifeform (it has the flattest passband response). There's the characteristic phase shift of analog filters, so it's probably not a Bessel response. True story: I wanted a speaker emulator in my Quadrafuzz (designed mid-80s). So I dutifully created filters, optimized as best as I could for the correct technical performance. But the sound sucked. Eventually, I found that designing screwed-up filters with lots of ripple, phase shift, and as many deviations from ideal as possible sounded the best. Now that I've analyzed cabs, I understand why!
    2 points
  47. You have to right click and select open on packages that do that. Quite a few things like this out there right now for the M1.
    2 points
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