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Showing content with the highest reputation since 04/27/2019 in all areas

  1. 8 points
    NOTE: This only works if you don't use the global EQ... (I did a search and didn't see anything, but if this has been discussed before I apologize) Scenario... XLR out > FOH (PA) 1/4" outs to personal FRFR Volume control is disengaged from the XLR so you can adjust your stage volume without changing the level to the FOH (PA). The XLR outputs can be set to MIC or LINE in the global settings, but they don't have a PAD which is common on most DI boxes. Even set to MIC, when the volume knob is disengaged the signal can be borderline hot. What do you do when the tech yells out "Can you PAD the DI"? GLOBAL EQ to the rescue. Turn it on Make sure the EQ options are flat (no cuts or boosts) Assign it to JUST THE XLR outputs Turn the volume down in the Global EQ to -10 or -20 (somewhere in that range will always make the tech happy) The global EQ is now acting as a variable DI PAD across all patches... exactly what I needed. NOTE: Since the Global EQ and the Volume can be assigned to different outputs independently you are not limited to just my example.
  2. 7 points
    I'm into my second year with Helix and I still haven't stopped marveling at how good it is. Nor am I even remotely close to having explored it all, or in all likelihood, learned how to get the very best out of it yet. So I'm endlessly baffled by people griping about updates. To me, they are the gravy on the pie. Maybe it's an age thing - I'm 53, and spent decades dealing with the many shortcomings of various amps and cabs and pedals. To have that all just... go away has been a quietly but profoundly life-enhancing experience :-)
  3. 5 points
    With your permission, I would like to submit this to Merriam-Webster as the official definition of “The Internet”.
  4. 4 points
    You tried to come out as the good guy too. You also are the one who took it public, so don't cry about him sharing more info now. Also, for what it's worth, I side with him, not you. A business can hold sales whenever they want, and they don't owe you a damn thing if you miss it.
  5. 4 points
    Obtaining a damaged or cheap ethernet cable is usually not hard; a lopped-off intact RJ45 connector can be easily inserted and removed.
  6. 4 points
    Depending on exactly what/ how you're playing, it's very likely that your problem is due to the fact that it's not a polyphonic pitch shifter. It's not intended to drop-tune the entire guitar. It might work passably under certain circumstances, but artifacts and tracking issues are inevitable if you're playing more than one note at a time. If you really need polyphonic shifting that's clean and reliable, with minimal latency, the Digitech Drop is still the best option out there. Something similar might come to Helix eventually, but if/when is anybody's guess. And imho, any pitch shifting effect (polyphonic or not) needs to be the first thing in the chain. If you try and feed a pitch shifter a signal that's already heavily altered, particularly with distortion or any other modulation FX, they tend not to track nearly as well.
  7. 4 points
    There is a very cool method you can use to do this just with the Helix's expression pedal. It simply requires connecting a MIDI cable from the Helix's MIDI out to its MIDI in connection. You are going to leverage a MIDI command using the CC#59 value which acts just like pressing the expression pedal's toe switch when it is sent back into the Helix.The MIDI command will be assigned to the footswitch you want to use to switch from volume to wah. That way you can use any footswitch you want to switch from the volume to the wah and back and the volume will remain wherever you had it set before you switched to the wah. The expression pedal will simply switch over to controlling the wah instead of the volume pedal. The volume pedal block will remain active but its volume won't change while you rock the wah. You can download the preset for setting this up from CustomTone: https://line6.com/customtone/tone/4397153/ If you use the preset you only need to follow the steps #1&2 below. Set 'Global Settings' --> 'MIDI/Tempo' --> 'MIDI Thru' = "Off" and then loop a MIDI cable from your Helix's MIDI output to your Helix MIDI input. If you prefer to set it up yourself the complete instructions are below. Instructions below use HX Edit for several steps but they could also be done from the Helix directly. You can substitute the references to footswitch#11 for whichever footswitch you prefer to use. Please let me know if I omitted anything or got it wrong but my preset appears to work correctly. Set 'Global Settings' --> 'MIDI/Tempo' --> 'MIDI Thru' = "Off" This prevents runaway infinite loop MIDI funkiness when you are looping MIDI back into the Helix Set up a MIDI cable from your Helix MIDI output and loop it back to your Helix MIDI input Add your wah and volume block using the Helix's default settings for your volume on EXP2 and wah on EXP1. The volume block should be active, wah should be bypassed, and the text above the expression pedal should have EXP2 highlit. Use HX Edit and go to the 'Bypass Controller Assign' tab and change the assignment for your Wah block for the 'Bypass' parameter to the footswitch you want to switch from volume to wah. In this example I will use footswitch#11. While you are still on the 'Bypass Controller Assign' tab clear the assignment for the Volume block's 'Bypass' parameter. So now you should be looking at three assignment entries only for both the volume and wah blocks - Wah Position = EXP1, WAH Bypasss = Footswitch#11 (used in this example) and Volume Position = EXP2 Now go to the Command Center (where you set up your MIDI commands) and set up the following values in the parameters for Footswitch#11(used in this example) Command = "MIDI CC", MIDI Ch = "Base", CC# = 59, Value = 0 The Helix uses the CC# "59" to switch between EXP1 and EXP2 on the expression pedal. Handy as we will no longer be using the toe switch. It is this capability that allows the expression pedal's control to be passed from the volume to the wah pedal without turning the volume block off. This preserves the volume pedal's last setting. As we are using footswitch #11 in this example which is on the bottom row next to the tuner switch, you are going to need to have your global settings set for Stomps on the bottom row or you need to switch into Stomp mode so you can use footswitch#11. You are done. Use footswitch#11 to switch between volume and wah. Don't use the expression pedal toe switch! Now when you press footswitch#11 (used in this example) the expression pedal will control only the wah or only the volume. Also, when you switch from volume to wah your volume will be retained at the same level without maxing out. VolWah on FS#11.hlx
  8. 3 points
    There is definitely some disconnect I think between people being intentionally sarcastic, people not getting the intention and getting butthurt, and then a bunch of silly arguing over dumb stuff in most internet forums. The Gear Page is about the worst because of the broad spectrum of ages/genre players. Sometimes it seems like the metal/djent music business is the only thing keeping some companies, especially smaller pedal builders and IR makers, in business. But those guys have realized that in a niche genre you need the income from signature gear to actually continue a career in music.
  9. 3 points
    Last week my local grocery store offered top sirloin steaks for $3.99 a pound. It was OKAY, and I considered buying them to cook for my wife and mom on Mother's Day, but then I thought . . . wait . . . it will PROBABLY go on sale for MORE the week of Mother's Day! So I waited! Last night they were $5.99 a pound! FIVE NINETY NINE!!! Those lying thieving bastards anticipated more people would be desperate during Mother's Day week! They had ribs on sale though for a VERY good price so I went with that. Silly me. Life went on. I still prefer steak and I hope to see those guys burn in hell.
  10. 3 points
    I definitely agree that Line 6 could do better (though they have been getting better, so that's good). However, you can work to make a complex concept to be presented as simply as POSSIBLE, but is it REALLY possible to make powerful equipment something that can be learned in one hour, one day, or even one year? I personally think that's a hard no, but if a company ever figures out how to do it they'll probably be rolling in it. I can explain how to play a guitar pretty quickly. There are only twelve possible tonal notes in music - and the guitar has those 12 notes arranged all over the fret board with various repeats. Press at the fretted parts to select notes and pluck the fretted strings just above the bridge for sound. There. Done. Gonna take more than a week though to actually do it. Anyway, keep at it. it really IS worth it.
  11. 3 points
  12. 3 points
  13. 3 points
    Some years ago I bought the Warmoth body/neck pre-built and routed to house the Variax 300 electronics. I installed Graphtec piezos, Earvana nut, and standard tuners. It remains one of the smoothest playing and most comfortable guitars I've ever owned. I still use it a lot even thought I now have a JTV-59. A great value for a very nice guitar imho.
  14. 3 points
    If I had to make a choice and own just one guitar.... it would be a Variax Standard (I'm a single coil guy) or a Variax JTV in a pickup configuration I like. IMO, the flexibility of the magnetic pickups along with modeling when you need it is a perfect combination. Since this question is posted int he Helix forum.... is it safe to assume there is a Helix in the gear list? If so, all the more reason to get a Variax!
  15. 3 points
    Les paul, flying v, bc rich kerry king, a silverstar with dimarzio, washburn hb30 and 3 variax. Still prefer my jtv 69 with my custom models over anything else. Strat body with all the other guitars i need. And more. P.s. could wait for the summer namm to see if a new variax arrives.
  16. 3 points
    I’ve had my FHFX for almost a year now. Using it in the band at church every week, rarely having problems, working through or around the problems and short comings I’ve run into as they’ve come up. In reading the problem posts in the forum, I’ve come to two opinions I’ll share. (Note that I mean no offense to anyone in the user community with these points.) 1. It’s time to face facts, this product is not intended and never will be supported as a premier product. Line 6 has provided an exceptional product for the amateur / low budget professional to easily get some killer tones. It is not going to provide the updates of additional amps, pedals, microphones, speakers and flexibility some of you ask for. It’s not their business model. If you’re absolutely obsessed with improving your tone to that degree, you will be required to buy their Helix product line. Sorry to burst your hopes, but face it, for $400 bucks they provide a lot of great tones and flexibility. For $1600 you get updates and premium service. 2. Now, this point is directed towards Line 6. You have sold us a product that has bugs and does not perform as you have advertised. I accept your plan is not to enhance the product, but your responsibility is to make it work as designed and marketed! Remote issues, cloud issues, and additional PROBLEMS listed in this and many other threads are your responsibility! Ignoring users that cannot properly use the device is a failure of your management. Think of it this way, if I’m not happy with the Firehawk FX reliability (NOT ITS CAPABILITIES!) and I decide to upgrade to a premium product, why wouldn’t I choose to try another company product. Axe FX, Boss, and others compete with Helix. I probably won’t be looking for a new board right away, but others may be making the decision soon. Therefore I would suggest Line 6 consider these points and FIX THE DAMN PROBLEMS WITH THE FIREHAWK FX!!! Thanks...
  17. 3 points
    That's life (that's life) that's what people say You're riding high in April Shot down in May But I know I'm gonna change that tune When I'm back on top, back on top in June......
  18. 2 points
    People like you, who spend your time being offended and then jumping in people's faces for what your negativity causes you to IMAGINE that we're thinking. Seems you'd like to be someone's CHAMPION. Instead, why not: A) contribute something positive B) examine your sense of humor Why you picked me to jump on goes to other discussions we've had. Get over it!
  19. 2 points
    I think a deep dive into the various amps and effects and how they differ could be useful to some people, but the research could also be exhausting and take LOTS of time to pull together. If you were to put it into the context of "what do I need for a good blues tone", then you're certainly jumping into the same type of content that Jason Sadites covers. I can conceive of a 2 topic areas that appear to be underserved. One is what you're talking about as far as deep dives into the various categories of amps, compressors, delays, reverbs, etc. But that would have to be a HUGE effort to be of any value. The other area that appears to me to be underserved is a very basic understanding of what modeling is and where/how the Helix fits it and gets configured and setup. We run into this all the time with people that are coming from traditional amp setups and are completely lost when they enter into the modeling world. Even the Helix manual itself doesn't really address this in any significant fashion. I'm talking about very basic stuff such as what is DSP and how does it get applied, or signal chains, their usage, and why, very basic navigation stuff, patches, presets, and snapshots..where they all fit in, cabinets, IRs, mic'ing and mic mixes. There's a ton of potential areas that newbies to the modeling world struggle with and could be useful.
  20. 2 points
    Wow. I can’t imagine what it must be like in the fantasy land you’ve created for yourself. He sold you a product for a price you agreed to, and the product (I assume, because you haven’t indicated otherwise) performs as advertised. He is under no further obligation to you, despite your feelings of entitlement.
  21. 2 points
    That's all well and good, but I don't think that's what the guy a few posts up was referring to, and it certainly isn't what I was talking about. He seemed to be talking about a lack of tuning stability and the need to persistently re-tune between songs...not switching to a different tuning altogether on the same guitar, between songs. Because if that's what he's actually trying to do, it's nuts. You can't do that in front of an audience. It's totally impractical, ridiculously time consuming, and more than a little unprofessional. You either grab another guitar already in the tuning you need, or employ a technological solution like the Variax, as you said.
  22. 2 points
    I don't know what format your files are in, but I use MP3 Normalizer to normalize the audio level of all my files for use in my car audio systems. That app normalizes files in seconds, so you can do a huge library in hours, and it maintains all the tags and folder structures. By far the best solution is to get your backing tracks at the same normalized level.
  23. 2 points
    I just have to say, if they gave out Academy Awards for gear creativity solutions, this would be the 2019 winner. Nice.
  24. 2 points
    I concur with Kilrahi, although I came to the conclusion by a different path. I never heard “fizz” until I purchased Helix. I was more critical and meticulous with my tones with Helix than I ever had been with my tube amp rigs, and when I heard the fizz I said, “What on earth is this noise?!” I fought to eliminate it for quite a while until eventually I plugged back in to my tube amp, and guess what I heard..... the same kind of fizz! And after that I heard it on Van Halen songs and AC/DC songs and Zakk Wylde songs and all over, it’s a guitar amp noise. The way we listen to modelers is different which I think contributes to the fizz being more prominent, and I think we are far more critical of them than we are of our tube amp rigs because we just expect that the tube amp is going to sound great, it doesn’t have to “prove it” in the same way. I’ve been through the whole curve on the fizz thing and have settled on it simply being a part of guitar amp sound. I use high cuts to attenuate it in the same way that a guitar cabinet naturally attenuates it, but I don’t obsess over it. Anymore...
  25. 2 points
    "If a company sells you a product that won't work, they should either fix it or provide a full refund." ~ Socrates
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