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Showing content with the highest reputation since 09/15/2019 in all areas

  1. 6 points
    A disaster? I think that’s quite a bit hyperbolic... There are some bugs, and 2.82 will be out shortly to clean up some of the remaining things. I mean, personally, I’ve done a bunch of gigs using the 2.80 and 2.8 firmware and really haven’t run into any showstopper bigs. I suppose with a complex system with so many different possible use scenarios, everyone is going to be different.
  2. 4 points
    It is remarkable how flexible this gear is. I'm 4 years in and there's not a month that goes by that I don't discover new approaches and ideas for improving my sound, and I have NO interest at all in any new equipment. I've got everything I need and I use everything I've got....for the first time in my life!!!
  3. 4 points
    JBL LSR305's or 308's depending on how much room you've got. Helix is a fully functional audio interface... no real need for anything else.
  4. 4 points
    I just find it interesting that the folks that have the most experience with the Helix seem to havethe least amount of problems with upgrades or various anomalies. Kinda makes one go..."hmmmmmmm..." The only "disaster" I've seen appears to me to be people that aren't quite prepared for the more technical nature of a premium modeler and don't spend adequate time reading the documentation or version release notes...not to mention a very poor grasp of their own computer operating systems. I've been on 2.81 for at least a month and it's performed consistently with zero problems gigging generally at least twice a week, the same as with all previous releases over the last four years. If you're struggling with it I might suggest the problem might not lie in the equipment.
  5. 3 points
    Good advice above. I recommend you look at the discussions and youtube videos about setting the level for your Helix output xlr or 1/4. I have my XLR output set to max by not being effected by the big output knob. I allow the big knob to adjust my 1/4 for backline adjustment. Also read up on gain staging so that you don't end up with digital clipping. Essentially, you don't want to push the input of your amp models too high. It can sound muddy, harsh, or clip weirdly.
  6. 3 points
    I am one of those who purposely doesn't do any kind of social media. I don't even visit TGP anymore. So it would be nice if they updated the firmware sticky I subscribed to so as to get proper notifications. Alternatively, I suppose I could just wait another ~3 months to receive a direct email from Line 6 telling me 2.8.2 has just been released. I appreciate all the hard work that goes into these free updates but for the love of god, I wished someone at Line 6 would either, update the firmware sticky thread regularly -or- just delete it.
  7. 3 points
    What firmware version did you update from? There was an earlier firmware that re-scaled the mix levels for the five HX reverbs... I believe that happened with 2.60. So if you were at a firmware version earlier than that, yeah, you'll have to adjust the mix levels. This was one of the very rare cases when an update changed the sound of an existing preset.
  8. 3 points
    A notch filter is just a parametric with a tight Q.... the Stomp has the perfect tool for you... a parametric EQ. The parametric EQ has 3 bands (essentially 3 notch filters) plus a high and low roll off. Each band has a specific range of frequencies... but you should be able to find 2 that overlap enough to cover your needs. The Q control is critical... you will want to keep this "tight". The higher the value, the tighter the Q. By default the EQ will load with a fairly wide Q for tone shaping, but for a notch filter I would start around the half way point... then adjust as needed, probably increasing the value even more. I find with Banjo (I dabble with 5 string) I also like to utilize the low cut... and raise that to about 400hz. This stops my banjo from shaking violently as the tech turns up the volume :) YMMV depending on the tone you are after. I don't need rich low end, you might! As for the phase invert.... there isn't a direct switch for it, but when using a parallel path the merge block allows you to flip the "b" polarity.I don't know how the LR Baggs implements it... but if it's just a phase reversal on the output (common) you could try this... In your chain, drop one effect to the B path In the split block, change it from a Y to a Split A/B and route ONLY to the B side In the merge block Set your A level to it's lowest setting possible. this is just a precaution to make sure no signal is bypassing the B path Now you can invert your entire signal by changing the "B Polarity" as required.
  9. 2 points
    Hi guys! Hope everyone it’s fine! My name is André, i’m a producer and guitar player that loves gear specially my Helix!! So, I just create my YouTube channel where I am making demos/comparison between a lot of gear and specially between real amps and Helix! My main goal it’s to provide you the best tones I can get with all the gear I can get my hands on and share with all of you! :) I will make a lot of demos with Helix too and I will give all the presets for free. Go check it and if you like, subscribe! I am currently uploading at least two videos a week, that’s a lot of work, so I really aprecia-te if you can help me growing this channel by subscribing and sharing the content if like. hope to see all there!! cheers
  10. 2 points
    Oh I dunno......, almost said it lol.... ; )
  11. 2 points
    If you used an amp and pedals, how would you dial in your tones? Likely by turning up the amp close to stage volume and adjusting everything until it sounds best. It is no different with a Helix. When possible, plug into the same or similar setup you would use live (I know with PA's this becomes impractical) and setup your tones at "gig volume" or as close as possible to it. FWIW... this is my method. I have a home studio, with two sets of speakers (I A/B the speakers, I never play them both at the same time) Studio grade 6.5" near field monitors Consumer grade 3 ways speakers with a 10" woofer, mid and tweeter I monitor my Helix at about 85db... this takes the Fletcher Munson curve out of play which is critical to setting up tones. re: Fletcher Munson! If you monitor too quietly you are likely to increase the highs and lows to make it sound artificially louder... this often results in a "boomy, tinny & thin" tone that disappears on a stage with the rest of the band I dial up my tones to sounds really good on each set of speakers I put on some music that I can play along with, in the style the tone was setup for - this allows me to hear the tone "in context"... Tweak tone a little as needed. If I need to drastically alter the tone, I return to step 3 to make sure it still sounds good on it's own, through each set of speakers. The tone I end up with goes direct to console. I always tell techs to start with a FLAT strip and adjust as they desire... the majority of techs never touch the EQ after setting it flat.. it's been that reliable.
  12. 2 points
    It's not L6's fault... The Illuminati made them do it.
  13. 2 points
    https://line6.ideascale.com/a/dtd/Drop-Tuning-Capability-for-Tuner-on-Helix/965088-23508
  14. 2 points
    I have a pair of Yamaha DSR112's under my desk but that might be overkill ;-)
  15. 2 points
    Hello Beamboom, In the Filters section, just find one that allows you to modify the "sensitivity" parameter (= envelope ) and set it to 0. Then, control the cut frequency with an exp. pedal or MIDI. (And also , set the the filter mode to "low pass) -> I believe the Autofilter will do the trick.
  16. 2 points
    Well, you're covering a lot of different things here, but I'll see if I can give you some perspective. First, as far as balancing your volume levels. This is most commonly due to the fact that the amp models are simulations of the actual behavior of the amp circuits. Therefore the levels will be different on each of them just like the real amps would be. You can do this by ear just comparing them to each other. I personally use a small mixing board so that I can compare the signal levels not just as an aid to matching volume levels, but also to better ensure the signal I send to the FOH remains consistent across all my various presets and snapshots. Another approach is when you add a block to the signal chain you check the signal chain with the block turned on and off to make sure you're not building up additional volume over the base volume level of the signal chain with no blocks added to it. In all cases once you get all the volumes matched up you use the Helix master volume knob to control your output. In my case I disengage the Helix volume knob from the XLR output which then sends a signal to the FOH the same as if the volume knob were turned to full max. Then I just use my Helix volume knob to control the 1/4" output going to my FRFR speaker. As far as the distortion you heard at your friend's house that would most likely be do to overdriving the gain level of the speaker. The generally accepted way of setting up a powered speaker is to set it's gain knob at unity or 12 o'clock. That means that the amplifiers in the speaker will operate at their normal maximum volume level without anything being added or subtracted from the incoming signal. If you get too much gain going into the FRFR powered speaker either from the signal being too high on the Helix or too much gain on the speaker itself the signal will clip on cheaper powered speakers and on more sophisticated powered speakers it will kick on an internal limiter to protect the speaker. I personally haven't used Rockit speakers but there are a number of people that dial in their tones on studio speakers. It's not optimal but it can work if you have enough volume to rise above most of the limitations of the Fletcher Munson effect. Generally that's going to be around 80 to 90 db or the equivalent of standing on the side of the highway with traffic passing, so not really all that high. What is a limitation with using studio monitors is that they are designed in such a way that the speakers need to be positioned optimally and you need to be positioned between them optimally in order to get the most accurate representation of the tone. Powered live speakers are much more flexible in that they have tonal consistency across a wide area if they're in an upright position (not floor monitor) but can sound harsh if you're positioned too closely to them due to your close proximity to the horn. I personally don't have to "fake out" anything with my setup at home. I have a small mixing board which I route my signal through so I can visually see my signal level and I'm attached to a Yamaha DXR12 in a vertical upright position at roughly chest height. With that setup I get a very accurate representation of my tone and have a consistent signal level going to the FOH so that it only has to be gain staged once on any of my presets.
  17. 2 points
  18. 2 points
    FWIW - I searched for wah in Helix. There were 1700 results. Searching for Looper turned up 1267 results. Not all of those are directly related to the Stomp, but I'm pretty sure that both the 1 button looper and the wahs are identical between platforms. Just sayin'......
  19. 2 points
    Yeah, you can't go wrong with G, Em, D & C. :-)
  20. 2 points
    Another strong NO to ASIO4ALL. While going digital seems a logical choice, I can't tell the difference between recording a digital signal from the Helix and recording the Helix through the analog inputs on my Scarlett. Not that I'm opposed to digital tech (obviously, I have a Helix) but most of the recorded music I like best was recorded with a tube amp through a microphone and onto tape, then gouged into vinyl, tracked by a needle whose vibrations were converted into the electrical signals that were reproduced by a paper cone speaker, so.....
  21. 2 points
    I had this some years ago, it wasn't my guitar setup. My guitar sounded awful in ear. eventually the bass player turned the input trim/level on the mixer down. `Bingo great sounding guitar, basically the input signal was overloading the preamp causing tinny distortion . Hope this helps.
  22. 2 points
    I went ahead and set all the DT Topology settings to the best of my ability for the first 13 presets of Helix 2.81. Would anyone be interested in that backup? Can you even use someone else's backup? I was going to try to put it up for free on the Market, but you have to be a vendor. Then, I was going to put it up in CustomTone, but it looks like you have to go patch by patch. That would take an enormous amount of time. Any suggestions? Can I just upload my .hxb here? Here is the spreadsheet I used to create it. The rig: Line 6 Helix Floor 2.81 DT 50 Head 2015 Les Paul Traditional Pro III Marshall 1922 Cab Line6HelixtoDTConnectivity.pdf
  23. 2 points
    The feature I would like to see is «converting» of Amp+Cab/Amp/Preamp blocks I use the Helix with two DT50 but also direct out or with headphones for practice at home at night. I dial my tones mostly connected to the DT50, where I use preamp-blocks. When I'm satisfied with a preset, I make a copy for direct out/headphones. There I have to replace the preamp-block with an Amp or an Amp+Cab block. Switching the block resets all settings to default. That means, I have to manually write down the settings, change block and apply them again. I like so see the possibility to either a) change the block type between Amp/Preamp with all settings kept, or b) copy only the amp-settings and apply them to preamp-block and vice versa
  24. 2 points
    Agreed! Some of the guitar cabs are far better than many bass cabs... for bass use! One important trick for me is to avoid the use of certain mics (57 Dyn cuts lows!). In my experience, a close (1'') 414 Cond or 121 Ribbon give me the best results. If some cab is too dark, then the 47 Cond helps (this is what comes with the SVT by default). Then the 4038 Ribbon boosts lows too much, it is useful sometimes, but I am not sure if there is the need to boost lows when there are so many cabs that work well. Avoiding medium distance "57 Dyn" is what makes MANY guitar cabs usable for me. My favorites bass cabs (Forgive comments in "Spanglish"): Also "No cab" works really well for me. With some EQ to tame and "voice" high frequencies, but totally transparent with lows. It avoids phasing issues. We bass players have enough with our "FRFR" cabs, they are not that "transparent" in the lows, so there is no need to make the problem twice as bad. I have certain theory why some "good" or "professional" or "thoroughly recorded" cab models are not so great with the Helix or any other modeller. Their responses are anything but "tight". 1x18 Woody Blue may sound good with headphones, but I doubt it is good with the full band and using any practical real cab in stage with the full band at high volume. To me it sounds really BAD. I can understand why some bass multi effect users are enthusiastic with their presets tuned with headphones without a band and then in the first rehearsal the band tell them "This is for guitars, your old bass amp sounded way better". ================== About the blend: Some overdrives / distortion have. And this is great because this avoids certain subtle problems that appear when using parallel paths. The problem with parallels paths (besides being very limited in number) has to do with phasing issues, they are different for each amplifier or overdrive. These issues are far worse in bass than in guitar. I know that this topic can be very controversial. Some ODs don't have a blend control, but they work at low / moderate gains "as if" they had a clean parallel path. If you play bass I recommend to try Teemah! for this reason. Teemah! and Obsidian 7000 are my favorite dirts. I have a preset that is simply Teemah! plus an EQ (instead of cab) plus effects, this is one of my favorites with the band. Because it is "rich enough" but "TIGHT". And I need my bass to sound very tight in many songs / band situations. Next in my "OD" list are 3 bass amps (SV Beast and Tuck'n'Go) and then Clawthorn Drive. There are many usable blocks to create OD / Distortion, some are bass amps, some are guitar amps. IME many of them are totally unusable for bass. But there are some surprises, for example the LEGACY heavy distortion (this one requires a parallel path). Or the Tube Screamer emulation is too "treebly", but does not CUT bass, so it admits EQ to restore bass... and does not require a parallel path! (it works better in a band context this way). I really would like to add a blend control in overdrives and distortions. Now I know it is not trivial to add if done properly. Hope it helps.
  25. 2 points
    Others have already said this, but it's worth repeating: the built-in cabs ARE IRs. IR stands for impulse response, which is a recording/measurement (in this case, of a mic+cab+room). Studio engineers (or you, with the right software) set up a mic on a guitar cab in a nice room, in exactly the way they would record the cab for tracking; but instead of playing guitar through it, they play test signals through it. It's very similar to the way the Kemper Profile takes profiles of an amp, except regular non-Kemper IRs do not capture any distortion characteristics - just the linear portions of the sound: the EQ, resonances, and reverb of the complete mic+cab+room setup. The quality of the IR depends mainly on the mic, cab, and room themselves; the equipment used to capture it; and the ears and choices of the engineer who recorded the IR. Common sense tells us that, almost certainly, there were professional LA studio engineers that Line 6 hired to take the measurements of the IRs included as built-in cabs. We also know that Line 6 have a pro-quality studio in their office facility, and that they're conveniently close to Los Angeles where there are plenty of world-class studios they might have recorded the IRs in. You probably can find IRs that you personally like better than the built-in cabs - for example, you can measure your very own cab with your own favorite mic in your favorite studio! - but it would be a mistake to assume that, just because the built-in cabs are built in, that custom IRs must be better.
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