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Showing content with the highest reputation since 11/10/2019 in Posts

  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. 4 points
    I can’t use my sonicport anymore as well. Line 6 never warned any of their customers that the update would break the device. Line 6 needs to prove us that they are dealing the issues with Apple. They can’t keep on selling units and close their eyes on the fact that the product doesn’t work anymore. Do they expect their customers to remain silent about this?
  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
    How cheaply can I put together a minimalist (sort of) do EVERYTHING home studio that doubles as a touring rig. Extremely easily provided cheap is relative. And all these amounts are in Australian dollars. Hoping the end result of this journey is useful to any of you wondering how to maximise your setup. So, in some rough order, what I purchased, why, for roughly how much, and what it can do. First purchase was a Line6 Variax JTV-59. Bought it for the ability to use alternate tunings on the fly as I could not afford multiple guitars. It should be noted the guitar modelling was a bonus, not the main reason for purchase. Bought used from a dealer in Brisbane for $1200 Already had the M-Audio Fast Track interface, cost me about $100 from a dealer in Canberra in 2011. The Shure SM-58 was even older, couldn’t swear to it, but I think it cost around $150 new at the time. So now I own: (A) a bunch of completely customisable virtual guitars (electric, acoustic, banjo, sitar, etc) with a bunch of completely customisable virtual tunings. (B) An interface that effectively DI’s guitar (or keyboard if you’re so inclined) as well as vocals with adjustable gain and output. (C) A highly respected industry standard vocal microphone. I won’t bore you with the computer build, but back in 2017, to upgrade my Mac Pro to Mojave REQUIRED the purchase of a Radeon RX580 (specifically this card, I’m not kidding!) Which happens to have 5 Video outputs, And that’s when I started to think about how to set this whole thing up. Anyway, my Mac Pro cost a bit under $2,400 start to finish 18 months ago and should frankly see me through for quite a long time to come. It also runs 3 dummy accounts in the background which feed 3 individual iTunes libraries to different AppleTV’s. Partially why I’m a bit trapped in the Apple walled garden. Please note that I have an extensive background in Apple hardware and software, so I designed accordingly. But this system would work equally well with a PC based setup at significantly less cost, so if you’re a PC guy, adjust the figure accordingly. So that’s $3,600 so far. Not pocket change, but far cheaper than any equivalent multiple guitar setup. Next was the Bass. Always, repeat, ALWAYS wanted the Kubicki. (Stu Hamm you ruined me you horror show of a bassist, LOL!) Way out of my price range, so I cheated. I bought a 30 year old unauthorised Japanese prototype (Google it, it was a pretty much a literal world class screw up in communication) gutted the electronics and bought all original pickups, hardware and electrics directly from Karla at Kubicki. Who had no problem with what I was doing whatsoever, for the purists screaming foul at this point. An absolutely lovely lady who did everything she could to help me realise my little dream. So go buy stuff from her. Anyway, the entire exercise came to $2,200. Again, not pocket change. But hey, for your DREAM vintage bass, with genuine BRAND NEW electronics… well, you do the subjective math. But at the end of the day, this system works with the cheapest bass guitar you’re happy to play, so again, adjust the figures accordingly. So it’s $5,800. And with Garage Band on a powerful Mac, jamming along to iTunes is happening, and the basics are all happening. But I want more… more, more, hahahaha! I then decided on the Helix LT. Why? From a background of pretty much everything electrical, AV, Hi-Fi or IT based from a VERY early age, here’s one of the few across the board statements I subscribe to… “Buy the best you can afford and don’t upgrade until it dies!” This is my second pedalboard. Ever. My first was THE first. The Boss ME-5, and yes I still own it and yes it still works as well as it ever did. THAT”S why. So why Helix and not Kemper, Headrush, Custom Board, etc ad nauseam? A number of reasons. (A) Drives the Variax power and software via a Cat6 Neutrik lead. (B) Effects remain compact, easily accessible, instantly portable. (C) Amp and Cab sims at a top level tier. The Kemper/Helix debate rages, personally I’ve come to my own conclusion that they’re slightly different beasts and if you’re the type who truly needs the n’th level of modelling accuracy then you should probably own both. Or pay more attention to your actual playing and composing than the whole ’tone wars’ silliness. IR’s for cabs are easily used as well. (D) Enough inputs and outputs. My system is for 90% home use, 10% for taking to a mates house. Didn’t see any possible future need for more I/O or scribble strips on the Helix Floor for my application. And I already had a headphone amp and microphone interface. YMMV. So $1500 and a brand new Helix is mine, coincidentally from the same dealer in Canberra I bought the M-Audio interface from all those years ago. I’m in Maitland, go figure. Total so far, $7,300. For any guitar, any tuning, any amp, any cab, any effect in any order, any mic at essentially any distance and all recordable and portable. So fleshing this system out was an ALTO 3000w PMPO (Lord knows what it’s ACTUAL wattage is, I literally laughed when I saw that.) $400 on special. $7,700. Now I’m playing live… figuratively anyway. The balanced headphone amp is not, strictly speaking, necessary. I’ve had it for at least 10 years. There is a 1/4” out headphone jack on the LT, but since I route ALL audio through the Helix, it made sense to use Hi-Fi cans through the balanced amp for listening purposes, and studio cans direct to the Helix for mixing and mastering purposes. Use what you have. And yeah, this is a cheat. Because the monitors were actually given to me by a friend who used to use them in his DJ’ing days in Ibiza (a clever front to cover his 3 year secret mission of ridding the world of cocaine one line at a time... he failed, but we remain thankful of the sacrifices he made for our safety!) :) $200 got me three 19” Lenovo monitors which sit above the main 32”, and a 24” which sits on the desk return with the HELIX. The 32” I’ve had for years. The monitor stand is literally a pice of sanded scrap plank with three $15 Bunnings monitor brackets screwed to it. I got an offcut of 35x90 pine, cut the base and uprights (3. Main upright centered in line with the base crossmember. Screw the 2nd and 3rd upright front and rear to both the main (1st) upright and the base crossmember itself. Creating a 90 x 105 post footprint.) Then connect the monitor board to the main upright at the appropriate height to clear your main monitor and leave just enough space to top mount a webcam. The advantage here is it puts the 3 Lenovo’s at eye height when I play standing up. The webcam is also not necessary, strictly speaking but I owned it and it has obvious uses. And this setup is quite capable of podcasting at a pro level as well. Using Hydrogen as a drum program, says drums, bass, guitar, and vocals, all taken care of. $8000 even. And it could stop there. But lets go for the brass ring! (You’ll see what I did there in a minute) Picked up an LTD EC-10 for $200. Why? Because it’s Gibson (24.5”) scale, same as the Variax, but has 24 frets, for those times you want the high notes. Plus I use it for Rocksmith 2014 on an old x-box 360. Great little learning tool. I then (literally) bolted a $300 Floyd Rose FRX surface mount floating tremolo and lock nut system. (As an aside, I may yet switch to locking tuners, Jury still out.) $8,500 and I now have a backup guitar that does the only two things the Variax can’t. I don’t particularly care about electronics as this guitar is for a different purpose. I also picked up a Schecter bass with bowed neck for $50. Got a luthier going to replace the rod for (quoted $400) at some point because it’s a 32” scale and a 24 fret neck. Exactly the same as the Kubicki. Even the profiles the same. No laminate neck though. :( And I will be setting it up for BEAD tuning. By using Jam Origin’s Midi Guitar 2 Synthesiser software (and Midi Bass 1.2 Synthesiser software) for $150, I can use ANY of my instruments through the Fast Track interface for a dry guitar or bass signal to the synthesiser as either a standalone program (I do it this way to spread out the processing power being used) or if you run less cores it can be installed as a plugin to your DAW. It can also be used in conjunction with the Helix to take advantage of the Helix effects chain. Your guitar or bass is now… well, anything really. Drums, Piano, Keyboard, Synths, Horns (Cause you can’t have a brass ring without a brass section! See!) even further guitar and amp/effect modelling including alternate tunings. $8,700 and into the home stretch. To take advantage of the synth abilities in a live situation, there’s a iOS version, which costs $50USD I think? And can be run with old iPhone direct to the helix. There’s 3 or 4 youtube videos where a guy walks you through it live. See https://www.youtube.com/watch?v=X4K_Kuqdwtw So allow $300 for the software, cables and decent old iPhone. Or maybe just a $300 laptop to run the desktop version $9000 and I believe you have the ability to write, record, mix and master any instrument at a professional level. The desk is a $50 gumtree corner desk I cut down to suit. The entire ’Studio’ is exactly 2 meters square (20 square feet). They’re my monitor stands for the moment… Don’t you judge me!!! $9,000 is a fair chunk of change. But as an apples to apples comparison that’s about the same money as a serious entry level piano. A single cello at this level sells for between $15,000 to $30,000 in Sydney (googling it as I type this). And as mentioned throughout, a lot of alternatives (PC, instrument quality) could bring the overall price down considerably. It’s not cheap. Its just ridiculously inexpensive in the bang for buck department. For a system that, as far as I can tell, do just about anything. It may not be everyones perfect setup… but she’ll do me. I’m attaching pics of the Rig itself and an (I believe) complete flowchart of my connections and workflow. I just turned 50. So hopefully this lasts me as long as my ME-5 has. Hope this helps people. Happy to answer questions.
  12. 2 points
    For placement of a volume block connected to an expression pedal I like having it after all my other blocks but right before my delay and reverb which tend to be at the end of my signal chain. That way when I ratchet down the volume pedal it does not unnaturally stop the repeats from the delay/reverb and allows them to finish normally without cutting them off. This method though can alter the input level going into the reverb/delay blocks which may cause them to respond differently. I have not found that to be an issue but if you do it would be a reason to put the volume block at the end of the signal chain. Don't have an HX Effects, so this may not be relevant, but there is also the option of using the output block for volume changes on the Helix if you prefer it at the very end of the chain. Could save you a block.
  13. 2 points
    One of his better rants. He's the personification of a most unfortunate cultural trend - lots of people like the angry rant thing, are impressed by copious use of the f-word, and will watch those kind of videos even when they are neither funny nor relevant. His t-shirt says it all. And in this case, he's absolutely correct in his premise. I must be an outlier, because I wouldn't watch either of his example videos, and most of his angry rants just make me want to punch him in the face until he shuts up. Which, of course, demonstrates his premise. He's controversial, therefore gets lots of views, and even though I don't like him, once again I got sucked into watching one of his videos. Which made me laugh. Thanks a lot?
  14. 2 points
    I'll post this common "when's the update coming?" post. If ya don't like it. Don't read it. It's made very clear what this thread is about so if you come in here complaining about it, you only have yourself to blame.
  15. 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.
  16. 2 points
    My ideal setup: A desk with a desktop or laptop computer. The Helix is connected (via USB) to the computer. A pair of good studio monitors connected to the Helix. This setup takes up minimal space and will sound good at all volume levels. Your computer will use the Helix as its sound card for playback (backing tracks!). You can even get into recording. Add to that easy access to tabs and tutorial videos from the computer and it's the perfect practice space. Notes: Studio monitors are "near field" speakers. You will want to be close to them unlike the PA type FRFR monitors (like Headrush). You can add an audio interface to the setup so that you can use your studio monitors with or without the Helix. If money isn't an issue, don't get rid of your tube amp. When I can be loud I still fire up my tube amps just for fun. Starting out like your, I would have had a hard time deciding between the LT and the Stomp but others have made a pretty strong case for the LT. All I can say is I have the LT and there is no way the Stomp would be enough for me now.
  17. 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.
  18. 2 points
    Yes, the Helix acts as a buffer. With 4cm you do not have to worry about cable length, within reason of course.
  19. 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.
  20. 2 points
    My complete and utter indifference cannot be measured with existing technology...;)
  21. 2 points
    There are no rules. I usualy use some Ir cabinet with Helix cabinet. For me it has bigger and better sound. You can try everything.
  22. 2 points
    Fwiw, I have a "default settings" patch dedicated to my favorite effects settings. The nice thing about the helix is that i can copy and paste a block from one patch to another with settings from the original block kept in tact. But yes, being able to save user setting defaults would be nice. Saving multiple user defaults would be even better.
  23. 2 points
    I totally agree on all points and none of the patches I'm actually using has an Amp+Cab block in them. Yet, when quickly looking for sounds, that block is pretty handy as it provides a (more or less) matched cab instantly, whereas you'd need to look one up separately using just the amp block (you usually don't want to run a Marshall style amp through a Jazz Rivet cab, do you?). Which, btw, is also why it'd be cool if we could save the default settings ourselves (or even block presets in general, which would as well come in handy for other more complexed blocks such as the delays and reverbs).
  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
    Problem Solved! Thanks Craig for pointing me in the right direction. Turning down the HUM control didn't fix it. Turning down the Ripple made the hum go away! Further experiments reveal that the HUM control will bring in a low octave hum and the Ripple brings in a buzz like a bad connection. It effects some amps more than others. It may be authentic but who really wants buzz and hum in their sound? Thanks again Craig. Bill
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