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Showing content with the highest reputation since 11/13/2019 in all areas

  1. 8 points
    First of all, virtually everything sold in California...the birthplace of 99.97% of all regulations known to man...has a cancer warning label on it. The swashbuckling state legislators out there use them to pat themselves on the back for "saving lives". Not long ago they pinned it on coffee. That's right...coffee. Nuff said. You know what else causes cancer? Being alive. 25% of us will eventually be diagnosed with one form or another, including a whole bunch of non-smoking, clean living, exercise junkies. Little kids, who haven't been alive long enough to be poisoned by anything, still manage to get cancer. Life is rough. You can worry about everything you touch if you like, but it won't help. When your number's up, your number's up.
  2. 5 points
    That label is so ubiquitous because of the dumb California law that it has lost all meaning... The state that cried cancer...
  3. 4 points
    Pretty much all of them. But then, I'm not into the VOX sound, or overdriven NMV amps into 10" speakers, or Telecasters. I used those videos as examples to illustrate the point that even guys who really like a particular type of sound can't tell the difference between a $3000 state-of-the-art profiling rig and a last gen $300 modeling amp, even on their favorite sounds. On the other end of the spectrum, you can pull up most any Anderton's video and see those guys pull great sounds out of anything from a $50 AIAB pedal to a KPA, playing $5000 LPs and $150 Squiers, and in blindfold tests, not being able to tell the difference! If the point of the comparison is to say which sounds best to who, they'll often disagree, and frequently surprise themselves when they think the cheap solution sounds as good, or better than the most expensive. Much to Lee's consternation, knowing he'll have to explain to the sales reps why Rob or Pete or Rabea thought (body language and facial expressions) or even SAID that their best-selling top-dollar product sounded like lollipop, in front of a million You Tubers! Proving what? That a PRO can make most anything sound good, and.... Two PROs in the same genre of music can walk out of the same store with different gear that sounds great, BECAUSE...... In the end, GREAT TONE is entirely subjective, AND...... We're blessed to live in a Golden Age of great, affordable gear! AND... we ALL could benefit greatly by spending more time playing and less time obsessing over which NOS tubes sound best in our 50 year old tube amps!
  4. 3 points
    Uhm. Ok, here goes. This might get long, so please bear with me... Many of the typical gigs/jobs I play usually involve kinda like "telephone" or "last minute" bands. In other words: I don't know what'll happen until 1-2 days before, sometimes it all happens straight at the gig. Bunch of sheets flying around (or being airdropped, whatever), big piles of tunes everybody sort of knows and off we go. Needless to say that I simply can't prepare properly for such a gig, let alone sort out sounds and create setlists or whatever. So I will have to rely on a bunch of allround tones and possibly modify them as good as it gets in very short time (during quick soundchecks and even while playing). Ideally, I will at least get the main things right, such as gains, channel levels, BMTP controls and all that. With that one-patch-per-gig approach, I'm getting away just more or less fine. I can even re-adjust some things while a chord is ringing out, etc. All this simply wouldn't work anymore as soon as there's more patches involved. So, to turn up my clean channel volume (plus whatever other parameters) would require calling up each patch, doing the adjustments and re-save the patch. But imagine I turned it up a bit too much - there's simply no way of going back during the gig as I can't just hold a note, recall 3 patches, adjust and re-save them and then go back to the patch I'm actually playing. It's absolutely impossible. And the more patches there are, the messier things get (and it's not Lionel Messi...). Ok, now here's how I used to deal with this before going Helix: For around 20+ years, I've been using various incarnations of loopswitcher based setups, everything usually being controlled via MIDI. A typical setup might've been like a 2-3 channel preamp (sometimes even multiple preamps, but those were the 90s...) with a bunch of pedals slapped into pre-amp loops and some FX running in post-amp FX loops or whatever. With any such a setup, the combination of pedals and preamp channels plus whatever FX (rack- or pedalboard-powered) provided plenty of flexibility while still allowing me to adjust some crucial parameters at any time. Clean channel needs to be a bit louder? Well, let note ring, turn volume knob, call it a day. And that action would be valid throughout all my 13 (or 74) clean(-ish) patches. Fwiw, this is also why I didn't use just a single multi FX unit for post-amp processing but usually would at least have a dedicated unit for the final reverb (and sometimes the delay as well). That way, I was still able to call up rooms, plates, halls, etc. to my liking but would as well have global control over just the overall reverb mix. You might get the idea. With the Helix, the only way to do anything similar to that is to stick with one patch. Anything else simply isn't realistic for the things I do. Now, this is working pretty well. As I usually don't need much but a limited bunch of rather generic FX (some delay and reverb, a tad of phaser and vibe here and there - kinda like that), a single patch is often just fine. Yet, with all that power under my toes, I really wish I could do more here and there. But due to the nature of many of my gigs, that isn't possible. Global blocks (or whatever you may call it) would solve that instantly. Here's roughly how it goes in Fractal/AxeFX-land (I never owned one, so I try to recall what people told me or what I've once read in their Wiki): You could "tag" anything as a global block. And once you're using that tagged block in mutliple patches, any changes you do to that block would be valid for each patch using the same block (you can still use the same kind of block without it being global, of course). Back to my proposed scenario, I would very likely set two amps, 2-3 drives, one delay and one reverb to "global". That would keep the most relevant things consistent throughout all patches and still allow for a whole lot of variations (way more than what's possible within a single patch). And oh well, as if this wasn't long enough already: I also think this has a lot to do with aesthetics. I don't think it's the best idea to use entirely different sounds all night long. When you listen to wellknown players, they will have 1-2 core sounds which they will then build up upon, using additional gain things and FX. It's really just the Top 40 et al players who seem to need gazillions of different amp patches (ok, maybe John Mayer, too...). Personally, I think it's great to have a somewhat larger variety of filter, modulation and delay/reverb FX available but keep the core sounds more or less identical. Ok, and finally, I also think that the lack of quick adjustments is responsible for modelers to often not sound as great in a live context as they possibly could. In case you have to bow down (or walk back and turn around, whatever) all the time, dive through menus. press save buttons and what not - it's likely that you rather not do that but live with a less than ideal sound. Global blocks would have a potential to solve that with ease. Add a little MIDI knob box (or a tablet controller) allowing you to control all important global parameters in one centralized small-ish unit (not located at the bottom of the stage, either) and the world is a better place. Well, I told you this would get longer (and I could even add some detailed ideas how all this could be realized...)
  5. 3 points
    Yes - living is fatal.
  6. 3 points
    It may not be out of line, but history has shown us... repeatedly...that asking the question is useless. Eventually they'll announce the update with a vague, open-ended release window... just as they've done multiple times before. "Spring", "fall", "coming soon".... estimates that often come and go with no finished product for one reason or another. There are exactly ZERO reasons to think that this time will be any different. Architecture that allows more frequent updates doesn't mean that'll they'll be able to predict, with any certainty, when the bug- chasing will be done...and that will forever be the big question mark, and the reason that they'll never commit to anything definitive. If they haven't said anything, it's because there's nothing to say. There will never be an incentive to crank out a promise that they might not be able to keep. So whether or not the question is valid is completely irrelevant. The question has never been answered to anyone's satisfaction, least of all the "When's it coming?!?! When's it coming?!?!" crowd...so why continue to ask? It makes no sense.
  7. 3 points
    I love this time of year...a chill in the air, the holidays are nearly upon us, and yet another pointless, speculative gripe-fest and wish list merry-go-round. Write a letter to Santa and ask the same question...the odds of getting any info that will turn out to be correct are about the same.
  8. 3 points
    1) Personally, for a new person getting into modeling I think it might be counterproductive to go with an HX Stomp simply due to the fact that the majority of video tutorials and presets you can buy or get free are going to be for the larger units and wouldn't work correctly on the HX Stomp. The most important functional differences in my opinion between the LT and the full floor unit comes down to two things: Durability and Flexibility. The Floor is built like a tank, but that may not be important if it's going to sit in the house. The additional inputs on the Floor are useful especially when it comes to recording or using external effects or additional inputs. If you don't see those things as important to you then the LT is the answer. 2) As far as output, be aware that you tend to get what you pay for in this area. I think it's silly to spend the kind of money one spends on a Helix and then attach the cheapest outputs you can buy because no matter how good the Helix is, it will always be limited by the quality of the output device. This goes for headphones as well. Probably the most often recommended heaphones among Helix users are the Beyerdynamic DT770 in the higher ohm configurations as they tend to be more consistent with what you get from good quality monitors. I personally own the 80 ohm version but many go higher that than. I own quite a number of different headphones but the DT770's are the only ones I use with the Helix. Given your situation you could go with studio monitors or live powered speakers. The real gotcha here is that in order to get the best representation of the sound out of the Helix with live powered speakers you really need to be playing close to or at performance level volumes due to the fact that's what they're designed to do and tend to be more affected by the way we hear things known as the Fletcher-Munson curve. If you do go with studio monitors there's a WORLD of difference between cheaper speakers and higher quality speakers in this area. Personally I have several different live speakers that I use. Mostly I depend on my Yamaha DXR12, but I've also used my QSC CP8 as well as my Electro Voice ZLX-12P. As far as studio monitors I use Yamaha HS-7's and have for many, many years. 3) The only real use for a headphone amp would be if you were to choose a very high impedance pair of headphones as the higher the impedance the lower the output. 4) Personally I think the whole "amp in the room" thing is way overstated. The fact is, the amp in the room experience is only heard by the person standing near a traditional amp and cab. Once you mic that amp and cab and send it through a PA or record it with a mic, you have the same situation as you have with the Helix. Audiences rarely experience the amp in the room sound. What is also a fact with traditional speakers is the sound varies greatly depending on where you're standing relative to the speaker simply due to the way they work. This is the reason why so much attention is given both in live performances and in the studio to what mic's are used and how they're placed on the cabinet....the same way it's done in the Helix when working with studio monitors or live powered monitors. What you're hearing using good headphones, studio monitors or live powered speakers is the sound you would hear on a production recording that you've been listening to your whole life or in every concert you've ever attended. The amp in the room only relates to what a musician hears standing near a cabinet. Even in concerts nowaday the artist rarely hears the amp in a room effect because they're hearing the mic'd up version of the sound through their in ears.
  9. 3 points
    Have you considered the HX Effects?
  10. 3 points
    Can someone from Line 6 please reply? A generic reply "we are currently working" on it is OBVIOUSLY NOT ENOUGH.
  11. 2 points
    Additionally, it depends on how your acoustic instrument is amplified. A lot of people's acoustics have piezo pickups, which for some sound too duck like for them to enjoy. If you find yourself in that situation, then applying an acoustic IR (recorded in a studio setting with a microphone, not a piezo output) can reduce some of that quacking feel. It's all subjective though. I have a few instruments that I think their plugged in output is perfectly fine (granted they aren't piezo) and I never add IRs to those.
  12. 2 points
    You can do some amazing and extremely complex things with MIDI. There are people who, with a few keyboards and pads, perform entire symphonies - SOLO! Fortunately, for using Helix products, life is simple, one MIDI command at a time.
  13. 2 points
    As many users are already aware there are some interesting ways you can use the existing footswitches on the Helix by looping a MIDI cable from the Helix's MIDI IN to the MIDI Out. Handy if you don't feel like adding an external MIDI switcher. This allows you to assign switches to make changes on the Helix that aren't necessarily available through the HX interface. Here are a couple, hope folks on the forum can add a few more. Wouldn't be surprised if some of these commands end up in the HX interface eventually, but for now... #1 -Turn the 1Switch looper into a 2Switch looper Puts the 'Stop' function for the 1Switchlooper on a second switch so it no longer requires a double-click to stop. 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 Go to the Command Center and set the following parameters on the switch of your choice: "Command"='MIDI CC', "MIDI Ch"='Base', "CC#"='61', "Value"=0. This will now be the footswitch you use to stop the looper. Assign the 1Switch looper to the footswitch of your choice. You now have a two switch looper and the 'Stop' command no longer requires a double click. You can stop the looper with the switch you assigned the MIDI command to and as you would expect use the switch you assigned the 1Switch looper to for other looper operations(play, erase, etc.). #2- Assign wah to a footswitch Allows you to switch the wah from a footswitch so the volume setting on the expression pedal doesn't change when switching to the wah as it does using the toeswitch Download and modify template - the easy method Download and modify the template preset below to your needs or you can set this up manually yourself. https://line6.com/customtone/tone/4397153/ If you use the preset do these two steps first 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 Set it up from scratch 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
  14. 2 points
    In Global Settings>MIDI/Tempo, turn OFF MIDI PC Send. That prevents Helix from sending it's default PC. In your Presets, in CommandCenter, use an Instant Command (the lightning bolt) to specify the PC# you want to send on Preset Load. That's it!
  15. 2 points
    I'm not jumping on the OP for his request and I didn't say it's out of line. I was responding to the "P.S." in his post. I am saying that he knows exactly what he is doing (stirring a well-recognized pot) and that contrary to his claim he is not sorry about it or he wouldn't have done it.
  16. 2 points
    Well that really depends on what "wow's" you I guess. The rhythm guitar player in our band uses a Spider V 30 and it does an excellent job, even going direct into the mixing board. But quite frankly I'm not "WOWed" by big sound, I'm wow'd by precision, articulation, and clarity and the ability to accurately get the sound and feel of any given song or style or genre I choose the play. The Spider certainly does an adequate job of that, but doesn't have the flexibility of the Helix as far as range of capabilities. But that's not so important to our rhythm player. He only needs a handful of sounds to be happy. But all of that capability and flexibility comes at a price well beyond the price of the unit because the Helix experience isn't exactly a plug in and play type of system. The more you understand about playing in a live environment or a recording environment and the nature of different types of output devices, the more you'll be able to take advantage of all the Helix has to offer. The rhythm player in the band would hate the Helix. He only wants to plug in, adjust a few knobs and play because that's all he feels he needs...and he's right. He would hate having to consider what type of stage monitoring system he'd need to connect to, or the various setups for managing his stage system and his interface to the mixing board. Even worse would be trying to understand how and where to apply different effects in his signal chain or what kind of amp models, cabinet/IR, mic combinations and placements to setup in a patch to get the sound he's after. I guess what I'm trying to get across is there's not a whole lot of people that are probably wow'd initially with a Helix unless they've been in the modeling world a while. But if they're willing to invest the time and effort to understand the choices and what will fit them and what they need, they learn to love it because they can achieve pretty much anything their heart desires.
  17. 2 points
    The best sound of the guitar is it's natural sound, and they're all different. Probably the best way to understand it is to use a simple clean preset and play the guitars through it. THAT is the natural sound of the guitar, and I prefer to maximize the sound of a guitar by choosing the right guitar for the sound I'm going for in the preset. For example, I generally use one of 4 different guitars on presets that require an electric guitar. I also have a resonator (steel guitar) and an acoustic, but we'll only deal with electrics for now. My 4 electrics that I use in the band are, a Les Paul standard, a Strat Elite, a Tele Elite, and a Gretsch Silver Falcon Hollow body. If I were to put them each through a simple clean preset I would hear the Les Paul with a tight mid-range and low end punchy sound. My Strat would have a very crisp tone that favors more higher mids and highs without a lot of bottom end. The Tele would tend to be more twangy and plucky with less mid range. My Gretsch would be a very even, full sound across the full typical frequency range of the guitar. Those are things that are built into the guitar based on the way it's designed and the type of pickups they use. How that converts to how they're used is based on the style of the guitar in a given song. If I want a lot of punch and heft for things like rock or metal so I'd build my patch for the Les Paul. I wouldn't try and build a patch that was a jazz tone for the Les Paul, I'd build it for the Gretsch or sometimes for the Tele depending on the jazz style. The bottom line is if I want a patch to sound authentic, I'll target it for the guitar that will have the proper characteristics. I wouldn't try and force-fit the guitar into a style using EQ and other effects as it will never be as good as an appropriate guitar for that sound. Not only will it sound better and more natural, it will be a less complex patch. In my case this is how they tend to be used for different styles: Les Paul - Heavier and/or classic rock, southern rock, higher gain blues. Strat - Mid gain or clean blues, chunky mid-gain rock, punk, non-twangy vintage country, 50's style rock and roll. R&B. Tele - Funk, modern mid-gain country, twangy country, chunky mid-gain rock (Rolling Stones or Who), black high energy gospel, certain types of rock and roll. Gretsch - Finger picked Chet Atkins style, Jazz Rock (like Atlanta Rhythm Section, Toto or Stevie Wonder), Rockabilly, orchestral style ballads. very big sounding rock anthems, traditional clean jazz. But that's just me. I'm a bit of a perfectionist when it comes to having a sound that best matches the style of song.
  18. 2 points
    No, there's no standby... but regardless, the overwhelming likelihood is that your Helix will become obsolete long before it stops functioning, no matter what you do to it. And it's entirely possible that it'll outlive you...I have a Marshall 25th Anniversary Silver Jubilee head that is now 32+ years old, which still turns on when I flick the switch. Don't worry about it.
  19. 2 points
    Really? Adjusting the trim causes problems for the sound technician(s)? I'm at a loss for words...
  20. 2 points
    Yes, the Helix acts as a buffer. With 4cm you do not have to worry about cable length, within reason of course.
  21. 2 points
    I get where you're coming from. I was initially frustrated, then realised ctr-s saved to the current slot with no dialog (or mouse click - whoo hoo). I now love using it as per rd2rk's post.
  22. 2 points
    I've been experimenting with this too. It works better with some amp / cab combinations than with others as sometimes the low frequency boost is too much. It's really good to have an alternative, fast, one-stop EQ to the High/Low Cut block though. I'm slowly working through patches A/B-ing between the two to see which gives the best results. Definitely a good tip :-)
  23. 2 points
    Thanks for the clarification Phil. You're basically the God of all things HX. That's a cool global setting.
  24. 2 points
    The magic of a tube amp is all of it's imperfections. If L6 didn't provide these options, there would be people complaining the amp wasn't noisy enough :) I'm with you.... just remove it completely. But... it is 1 (of many) imperfections people think they need.
  25. 2 points
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