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

  1. 3 points
    Can someone from Line 6 please reply? A generic reply "we are currently working" on it is OBVIOUSLY NOT ENOUGH.
  2. 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.
  3. 2 points
    Really? Adjusting the trim causes problems for the sound technician(s)? I'm at a loss for words...
  4. 2 points
    Yes, the Helix acts as a buffer. With 4cm you do not have to worry about cable length, within reason of course.
  5. 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.
  6. 2 points
    My complete and utter indifference cannot be measured with existing technology...;)
  7. 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 :-)
  8. 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.
  9. 1 point
    Make sure you have HX Edit closed when running Line 6 Updater, for one. That’s probably the most common reason for this.
  10. 1 point
    Fwiw, for me, being able to finally use fullrange amplification all throughout (in the past I only did so in case someone kinda pointed a gun to my head, such as theatre directors demanding "No sound on stage!") posssibly is the biggest godsend in my guitar playing life. I had pretty great analog rigs and most of it is sold already with the rest to follow. Zero regrets so far and I will never ever go back.
  11. 1 point
    You mean two HELIX amps to two EXTERNAL amps. The devil is in the details. Yes, for that you'll either need to do it with two delays or with the single stereo delay before the split to the amps, which might be doable with more tuning - after all, it's the way it's done ITRW with an amp without FX loop.
  12. 1 point
    For some reason I had completely overlooked the Tilt EQ until I read this. Now it's my best friend! Thanks for the tip!
  13. 1 point
    There are a few workarounds it seems, like using a MIDI cable. But it would be nice (and easy) to make the EXP toggle-able with footswitches for those of us who use the MIDI ports otherwise. I just saw that there is an entry on ideascale here: https://line6.ideascale.com/a/dtd/Toggle-Expression-Pedal-selection-with-Footswitch/967640-23508
  14. 1 point
    All good insights. I've been telling a friend for a while to get an HX Stomp. He never would, but is suddenly interested in the Iridum. There are just some guys who need physical knobs I guess. For some people, everything I think makes the Helix platform superior, they think of as a detraction. It reminds me of those mobile phones they made maybe 10 years ago that were marketed to older people on the grounds that they didn't have a touchscreen or any apps and just had big number pad buttons and a few speed dial buttons your kids could pre-program for you. There would be an old guy saying, "I remember when you just used your phone to call people," and a lady using a walker saying, "now I can call my grandkids without all those confusing apps."
  15. 1 point
    They weren't really upgraded. They were ported over. It does allow for the algorithms to run at a higher sampling rate, though, so in some cases that might make a slight difference in how they sound. The way Ben Adrian described it once is that it's like they put the older effects in an HX wrapper.
  16. 1 point
    Beware that anti-glare filters are not all of the same quality.. Buy a good one. In any case it shouldn't be too expensive. _______________________________________________________________________________________________________________________________________________________________________ All about POD HD500/X help and useful tips
  17. 1 point
    I just wanted to say, I read your earlier tip on the tilt EQ and finally tried it a few days ago and I REALLY like it. I have always liked the stock cabs, but my methods for darkening them up when needed was not half as simple and elegant as this. Thanks for the tip!
  18. 1 point
    Just activated recently, bought the USB cable and am having issues playing back. Basically, I'm not hearing any Loops and Samples playback. Here is my status as I currently have it on my computer... Sound -- Output device > Speakers (my amp Line6 Spider V30). Input -- Microphone (Spider V30). Microphone -- Cubase LE is using your microphone. and when I go to simply start recording a guitar track...of course I go to Project, Add Track,....WHAT should be in audio inputs? Additionally, Configuration is in MONO, and Audio Outputs is in Stereo Out. ...so I need to hear playbacks and start recording. I know I need to turn something OFF, or isolate my guitar signal when previewing drum tracks. WHICH is it?? And my OS is Windows 10. Thanks for all the help!
  19. 1 point
    This behavior is determined by the EXP # Position setting in Global Settings>EXP Pedals. If you set to Global, the value of the parameters controlled by the expression pedal will always reflect the current position of the pedal. If you set it to Per Preset, the a specific value will be recalled with the preset, but if you switch snapshots, the parameter values will track the pedal position. If you switch it to Per Snapshot, the parameter value saved with the snapshot will be recalled and stay that way until you move the pedal.
  20. 1 point
    FYI re: Helix and control of DT25/50: (as of Helix FW 2.82 and HX Edit 2.82) If L6 Link is connected, the DT25 disregards MIDI commands to the power section (Topology, Power Amp, Tube Config). This means the legacy Helix template preset 'DT25-DT50 Remote', which is programmed to offer footswitch commanding of the DT power section (via MIDI messages) *will not work* when the L6 Link is connected. So, be aware! You can, however, save 8 different power section setups (Topology, Power Amp, Tube Config) in Snapshots and recall them from the Helix over the L6 Link. You cannot (per my experimentation) command the DT25 power section via footswitch buttons (over L6 Link). Unlike most other parameters, the Helix won't let you assign these to a footswitch. In summary, using L6 Link, you *can* set up your Helix to give you DT25 power section variations at your feet, and that is (must be) done via Snapshots. This info was confirmed by both experimentation and consultation with Line 6 Support. Now you know (if you didn't already)! Since there are 8 Snapshots, but 16 possible combinations of Topology, Power Amp, Tube Config Topology (x4) Tight, Loose, ZNF, Resonance (I-IV) Power Amp (x2) A or AB Tube Config (x2) Triode or Pentode you won't be able to put every possible combination into a single preset. Attached are 4 preset files : DT25 cA 01.hlx 8 Snapshots of Class A setups, varying Topology and Tube Config DT25 cAB 01.hlx 8 Snapshots of Class AB setups, varying Topology and Tube Config DT25a cTri 01.hlx 8 Snapshots of Triode setups, varying Topology and Power Amp DT25a cPen 01.hlx 8 Snapshots of Pentode setups, varying Topology and Power Amp Enjoy! DT25a cPen 01.hlx DT25a cTri 01.hlx DT25 cAB 01.hlx DT25 cA 01.hlx
  21. 1 point
    Hi, I recently bought patches from three of the established vendors in this field: 1. Fremen - Starter Pack and free Marshal amp pack 2. MBritt - Patches 1 (32 patches, only current offering for Helix) 3. Glenn Delaune - Boutique amps volumes 1 and 2 Figured it might be useful to share a few observations. Couple of caveats: 1. I know a few people are skeptical about the value or even wisdom of paying someone else to write your presets/patches but, for me, it makes sense. I'd had the Helix for a few weeks and was struggling to get really good tones out of it. The factory presets were (to my mind) terrible. The Fender twin one is okay but most drive sounds were 'distant', mushy or washed out. I realise the Helix is not meant to create the sound of a well mic'd amp rather than an 'amp in the room' tone but even with this, I was disappointed. I was certainly spending a lot more time tweaking tones than actually playing guitar. I only have a small amount of time to play each day so, as a result, the Helix was not being used. I'd even started to look at a used Kemper to replace it! Sad times :( 2. In my previous efforts, I'd downloaded an ownhammer IR pack and found this improved things a bit but I still wasn't happy. I'd also watched and followed a lot of online tutorials about creating patches and, while I'd enjoyed tweaking, I still wasn't playing. 3. Gear. I should add that I usually use the pedal with headphones. I use either Beyerdynamic DT770s or Superlux 681s. Both are, to my mind, very good sounding cans. I've also used the 'full range' input on my Vox adio amp. It yielded very similar results to the headphones tone wise. For guitar's, I've tried instruments with humbuckers, single coils and P90s. 4. I was impressed by patches from all three vendors, what follows are just a few observations of my own, many of which will be based around personal preference. In isolation, each patches pack had some standout strengths. Glenn, Michael and Fremen clearly know what they are doing. Anyway, on to the actual review: Fremen Starter Pack and freebie Marshal amp pack: These were the first packs I tried (based on other positive reviews). I was immediately impressed with the drive tones and surprised to find the acoustic simulator in there too. Fremen's use of Snapshots is also very thorough so you get immediately useable presets (plus a nice example on how they can/should be used generally). Amp tones are based mainly around the amp models you might expect (fender for fender, marshal for marshal etc) along with careful use of drive pedals and carefully matched IRs to finish the tone off. Appropriate effects are also included and some interesting signal path routing is used too (opened my eyes as to what is possible). Blanket statement is that the tones are far more up front than the factory presets but still tend towards really well ic'd amp than 'amp in the room'. The drive tones are quite bright (strong mid/high focus) but not harsh and the higher the drive, generally the better the tone he has achieved. For me, the 'crunch' tones have a little less impact though and the clean tones are 'too clean'. Fremen's own comment is that he likes his cleans 'super clean' and he uses a few tricks to achieve this (careful use of compressors). In the starter pack at least this meant there were great drive tones and really clean cleans but a bit of a gap in between. I also found the clean tones to be a bit 'mid heavy' without any of the shine and shimmer that you get from a nice fender clean tone for example. This is personal preference thought, other people might really like this type of sound. Perhaps there are better cleans and bluesy tones in the 'big pack' but I decided to try other vendors first. Michael Britt, Helix preset pack 1: King of the Kemper, Michael Britt. Again, initial impression of these patches was really good. Similar to Fremen, the patches are based around candidate amp models with driver pedals and carefully chosen/custom(?) IRs used to get you MBritt's signature 'amp in the room' tone. Indeed, of the three sets of patches I tried, MBritts's are definitely the most 'present' and immediate which translates (especially with headphones) into a more realistic 'amp in the room' feel. In terms of organisation, the pack makes less use of snapshots and each preset seems to have a slightly different structure. This is fine, but perhaps less intuitive than Fremen's approach. A neat trick he uses on his clean tones is to use combinations of amps. For example his Fender tones use an obvious candidate Fender amp model for 'glassy tone' but then a less obvious clean amp is added in parallel to give a bit more body and focus. His ability to choose candidates for these combo presets is a big part of the value for me. All told, a really nice collection of presets. Cleans are more to my taste than Fremen's and I learned a lot from seeing how he sets up his signal paths. If you have the Fremen patches and are happy with his cleans though, maybe you could pass on this set. Glenn Delaune Boutique amps: I'll be up front, on balance these are possibly my favourite. Nice use of snapshots and well organised. Good selection of drive tones and the Volume 2 'clean pack' is just incredible for bluesy, low drive tones. Overall, a really nicely balanced tone (not too bright) and probably somewhere between MBritt and Fremen for 'room presence'. The way he constructs his patches is also quite different to t the other guys. Glenn generally uses the Amp and Cab models from the Helix (the other guys do not use the Helix cabs) and then adds an IR after that to 'tone match' to the amp he is attempting to match. He has loads of youtube videos showing the success of this approach. To my ears, it works really well. The 'feel' and response to pick attack also seems to be particularly realistic. The only downside is that the IRs are very specific to the patch and probably don't work too well elsewhere. And, aside from adjusting the amp settings (tone, gain etc) the patches are probably less use for tweaking. That said, I'm very happy with this approach. I get a well set up tone which I can play with within the limitations of a normal amp. That works for me as it gets me actually playing guitar quicker. An interesting side effect (I guess) of his approach is that he ends up using amp models that you might not expect. For example IIRC he uses the Roland Jazz model (super clean) and a drive pedal to create the Blackface amp. Disable the IR and it sounds pretty poor. With IR, fantastic. Forgive me if I have miss-remembered the specific preset here. So, all told, any of these packs would probably be helpful if you want realistic tones in a hurry. The first two might be best as 'tutorials' and MBritt really brings the amp into the room. Fremen's cleans are super clean and his higher drive tones are great fun. As I've said though, I really like Glenn's preset packs. For whatever reason, they just seem to grab me and keep me playing and his selection of clean/light drive tones are just epic. Having said that, there are presets from all packs that have made it into my 'shortlist' preset list and I'll probably get good use from all three vendors. If I had just one set, it'd be the clean pack (volume 2) from Glenn. After that, I reckon I'd be perfectly happy with any of the other packs to provide higher drive tones. So, no definitive 'best vendor' but hopefully I've highlighted a few characteristics that might help people decide if they are looking at buying. Cheers, ip
  22. 1 point
    I have my POD 2.0 like 10 years ago and this last year I started with this problem: every random time, when I'm playing or not, POD enters in "Edit" mode and "destroy" the sound of the bank I'm using. For example, I'm using a distor and when it enters in Edited mode sometimes a flanger, a chorus, a delay, or simple the sound get less distortioned, and I must change banks really fast. Any suggestion?
  23. 1 point
    Just got the FBV 3 and the POD HD PROX to replace my old Digitech GSP1101 that finally died after years of gigging and what some would call abuse... Gotta say, I'm a bit disappointed that apparently the only way to not accidently hit the looper button (FS1) is to use a bottle cap to cover it. (smh). All this brain power at Line 6, and the best we can do is duck tape and a bottle cap? did I just waste 800 bucks?
  24. 1 point
    I just loosened the jack and I sliced one end of the rubber washer to where I could slide it over the jack. I then retightened the jack and that's was all. It just pushed the jack end out enough to where the G10 transmitter would fit correctly.
  25. 1 point
    Well, I think having the EXP1/EXP2 toggle with the toe switch makes the most logical sense for most users... Anyway, the other option now is to switch EXP1 and EXP2 via snapshot changes. With the 2.10 update, the state of the expression pedal is remember and recalled with the snapshot.
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