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Showing content with the highest reputation since 09/23/2019 in all areas

  1. 14 points
    2.9 Model Updates: -Revv Purple (Ch3) -1x12 Fullerton and Grammatico Cabs -Red Llama Drive -Steve Vai Legendary Drive -Harmonic Antagonizer Fuzz -Rochester Comp (Billy Sheehan Compressor) -Small Stone Phaser -Split Dynamics (Path A/B Routing) Feature Updates: -Output Meters -Gain Reduction Meters -Clip Indicators -IR Attachment by Name -New Switch/Snap/Looper Layout Options -New Model Subcategory Shortcuts -Update from HX Edit -A/B Compare for HX Native Available “soon.”
  2. 7 points
    I can't answer the detailed technical questions but can maybe provide some useful guidelines. Biased hot: Stronger overall output, more lows, not as much clean headroom, more saturation and less cutoff distortion, more even order harmonics, tubes wear out faster. Biased cold: Weaker, thin, harsh output, Lows aren't as strong, more clean headroom overall, more cutoff and less saturation distortion, more odd-order harmonics, and the tubes don't breakup as fast. I don't know what the range of the Bias control is, but I would expect 5 to be where the tubes are normally biassed, 0 is colder, 10 is hotter - but how hot/cold is unknown. The above applies to typical Fender, Vox and Marshall amps where the majority of the distortion is coming from the power tubes, and where negative feedback is lost (because the power tubes are clipping and have no more gain), and therefore damping factor be lower. For modern high gain amps where most to the distortion is coming from the preamp section, power tube bias can have a very different impact. A slightly colder bias might tighten up the amp, and improve the transient response. Hotter bias might result in less controlled tone and too much muddy bass. So biasing hotter for blues in small amps and biasing colder for metal in high-gain amps might be something to try. Bias excursion is caused by distorting power tubes causing increased grid current which charges the coupling capacitor between the phase inverter and power tube, which changes the bias of the power tubes. When the input stops, the coupling capacitor slowly discharges allowing the power tube bias to recover. This could make an amp that is biased hotter, become colder biased as it is pushed further into distortion, changing the color of the distortion. Maybe when the hotter biased power tubes are pushed to the edge of breakup there might be warmer even order harmonics, and better bass. As the tube is pushed harder the bias gets colder, there might be more odd order harmonics for more aggressive sounding distortion, and the bass might be reduced.
  3. 6 points
  4. 6 points
    SUCCESS!! So I was having the same frustrating SPINNING WHEEL issue while using Logic Pro as many others... but I made one change that seems to have fixed the problem! I just turned off my internet connection (WiFi) then tried opening the plugin in Logic, but this time instead of it causing the constant spinning wheel, it prompted me for my account login info (...because of no internet connection). But this time where I had previously been connecting over my home Wi-Fi... I instead connected to my iPhone via PERSONAL HOTSPOT... typed in my password and it loaded right up! And after that first successful attempt I now seem to be able to use my home Wi-Fi without any issues and everything seems to be working as it should! DANG....FINALLY!!!
  5. 5 points
    Hi, I am Fabrizio D'Alisera a saxophone player from Italy, maybe it sounds weird in a guitar forum, but I'm a user of the Line 6 HX FX. I am running a mic through a small preamp and then to the hx fx. I have always been a bebop oriented player, but lately I am experimenting nu things. I will get an expression pedal to use the unit to its full potential. What do you think? I have used a delay in the first part and a bitcrusher and a pitch shifter in the second one. Here's the link
  6. 4 points
    Nothing is stopping you from adding the extras for your own pleasure... but everything else you add will be moving further away from what Neil would do. IMO.... Studio Compression is definitely added to Neils guitar on the recordings.... you may want to insert the "LA Studio Comp" after the after for that feel/tone. It will be subtle, but does make a difference. A touch of verb doesn't hurt, but keep it light. Both the verb and compression would be "studio additions", not part of his core tone!
  7. 4 points
    "Undecided" - Ella Fitzgerald First you say you do And then you don't And then you say you will And then you won't You're undecided now So what are you gonna do? Now you want to play And then it's no And when you say you'll stay That's when you go You're undecided now So what are you gonna do? ----------------------------------------------------------- DUDE! Get over yourself! Many thousands of people are happily using Helix Native EVERY DAY with MANY different DAWs. Just because you can't figure out how to use it with YOUR DAW, and haven't got the patience to learn, don't bad mouth the product! I personally use Helix Native with 3 different DAWs - Reaper, Cakewalk and Ableton LIVE. I got no problems like you can't handle. You said we got it working for you, then you got PO'd and QUIT, so I'm not even sure what your problem is! I had never used Snapshots in Native, took me 5 minutes to work out. It works JUST LIKE THE HARDWARE! FWIW - I tried Cubase and thought it was the most un-intuitive, difficult to navigate POS I'd ever had the misfortune of wasting my time on. Did you notice - nobody chimed in with "HI! I use Cubase, here's how you do it!"? Not that Cubase is necessarily the problem, but it sure ISN'T Native! Let's see, what's that leave........? So, kick back, have a beer, smoke a doob, and when you're ready, come on back and we'll fix it for ya!
  8. 4 points
    Wish I could say the same...it updated without issue and functions normally...however, the battery life went from 6 hours+ on a full charge to less than 3 hours now, literally overnight. I'm sure safety improvements make the lawyers happy, but if the price is cutting the device's usefulness in half, I'd rather have taken my chances with an overheating battery...I had no issues with more than a year of almost daily use. Normally I know when to leave well enough alone, but instead I went along with the recommendations instead of my gut. Last time I'll do that. Already opened a ticket...we shall see.
  9. 4 points
    Just want to add... you can leave the LA Studio Comp where it is if you want to tame the peaks, just be sure to set the LA Studio to "Limiter" rather than "Compressor". That "should" tame the peaks, while leaving all the quieter parts (swells, reverbs, etc...) untouched. The LA Studio Comp is an LA2A model.... not a stomp box model. It shines at the end of the chain, but only if you don't try to use it like a guitar compressor.
  10. 4 points
    I saw your post while trying to fix a similar problem. This worked for me: After I installed all the latest upgrades to the drivers and the editor, I restarted the system then followed these steps. 1. Open System Preferences in OS X Catalina 2. Select "Security and Privacy" 3. Select the "General" tab 4. Look at the bottom for an alert about system software prevented from loading 5. Select to allow software from Line 6 6. Open POD HD500 Editor 7. Connect the POD to the USB Done! I hope this helps!
  11. 4 points
    Nobody has ever brought this subject up before. After this many years, I don't think we should start now.
  12. 3 points
    Don't forget to play around with the high cut parameter. It actually serves as a tone control, and it allows you to set how bright or dark you want the reverb tails to be.
  13. 3 points
    A Klon is to a reverb as an amoeba is to a sperm whale. Where can I get this on a T-shirt in a men's medium?
  14. 3 points
    Respectfully I think there may be considerable interest in better synth options. Hard to tell without a poll. I cast my vote "Yes please".
  15. 3 points
    This is something I never thought I would do, mostly because of the hype around the Klon over the TubeScreamer. But what works in some situations doesn't work as well in others, and you have to judge tone with your ears, not your eyes. I mostly play single-coil pickups - Strat Deluxe, Tele, and Variax JTV-69S. I just like the character and brightness of these pickups. I also have a '67 Les Paul with Tom Holmes pickups and a very nice black Epiphone Sheraton Pro II. What I found is that its important to match the distortion blocks with the guitar and amp. A typical single coil pickup is going to be a bit scooped in the mids, giving it that bright and deep tone that sounds so good by itself. If you pair single coil pickups with a Fender style amp, it's even more scooped. I typically use Derailed Ingrid or Litigator both of which are Fender style amps. I think Fender might have done this because it made the guitar and amp sound really good by itself in the showroom, helping sales. But in a mix, all that scooping can make the guitar get a little lost. The Klon is high headroom, low gain, hard clipper with some mid boost at 1kHz, but not a lot. Contrast with the TubeScreamer which is lower headroom, higher gain, soft clipper with a lot of mid boost at around 720Hz. When I compared them using the JTV-69s into Derailed Ingrid, I found the Scream808 just sounded better. I think it's because that guitar and amp needs that slightly lower frequency, slightly higher mid boost, higher gain and since the pickups are already pretty bright, the soft clipper's more even order harmonics seemed to fit better with the guitar. So maybe the magic with the Klon/Minotaur happens with double coil humbucker pickups into Marshall style amps. This combination is already pretty dark with a fair amount of mid focus and high output. So the Klon's lower gain, slightly higher frequency mid boost, slightly lower mid hump and hard clipper producing more odd order harmonics works better to brighten things up a little. I also swapped out the Compulsive Drive (OCD) with the Dhyana Drive (Zendrive) for higher gain sounds. I felt like this was a better fit with my guitar and amp choices, and was a bit more controllable. I'm pretty happy with the result. It seemed to enforce the fact that different distortion pedals work better with different guitar and amp combinations. So don't pick the "best" distortion block, pick the one that works best with your guitar, amp and musical style.
  16. 3 points
    Mine works fine, but I'm pi$$ed anyway!!!!!! ;)
  17. 3 points
    If you're never gonna leave the house with it, get a good pair of studio monitors and call it a day. Stereo FX are glorious... you'll thank me later. Size will be dictated by the size of the room and/or the footprint you want. JBL LSR305's or LSR308's are excellent, and not terribly expensive. There are tons of good choices... these just happen to be the ones I have the most experience with.
  18. 3 points
    Oh, I see - even though your Helix can store 1,024 presets (arranged in 8 sets lists of 128 presets in 4 banks of 32) you aren’t happy if you have to switch from your idea of a “mega-rig” to a different preset. It should all be available in one preset? There is a reason they are referred to as “ setlists”. Next song, next preset - seems like a good idea to many users. Your premise of “the flexibility to pretend I have a real board and don’t have to switch into a new preset.” and how you are approaching things rather defeats the object of having a Helix in the first place. Frankly I’m baffled that you think that this is too complicated and want to do everything in one preset. The whole concept of this unit is flexibility. Which is precisely why the people at Line 6 added “snapshots” for the equivalent of a many presets within a single preset and “trails” on delays, reverbs etc, to carry over while changing from one preset to the next. The idea was to reduce the “tap dancing” involved with a huge analogue pedal board. It may be me, but I don’t think that you are using what you have to it’s best advantage. What do you have in those other one thousand and twenty three preset slots? Your concept of not enough DSP being available is purely down to how you have chosen to use it. Sorry, I just don’t comprehend your logic, in fact it is totally illogical. Your mileage, very obviously, does vary.
  19. 3 points
    If I understand, you want to switch between 2 delay settings with one footswitch, correct? If so, in this video Steve Sterlacci shows how to setup one button to swap presets or snapshots using 'Command Center'. You basically have one button on preset A that points to Preset B, and the same button on Preset B points to Preset A. Sorry if this missed the target.
  20. 3 points
    So if I got this right no manual exists for the spider remote app and the instructions for my V20 MKII are only marginal. I'm 72 yrs and I don't have another lifetime to learn all the features and would appreciate a help screen on the web site that is product and app specific. It appears to be a great product, but unless you are a professional or a bloody genius it becomes mind numbing!
  21. 3 points
    Fantastic news! What a great addition to the Helix. This device and the firmware for the entire HX line just keeps getting better!
  22. 3 points
    particularly since the account was just created the day of the post, lol there's literally nothing there except the one post damn privacy idiots. i am going to post pictures of what i eat for lunch, and then complain that people know what i eat for lunch.
  23. 3 points
    Before you and others jump on the op, we were told over and over again, that the new way of coding future Helix updates would really speed up future updates. I don't feel that a polite inquiry after five months (if it's really been that long) is out of line - especially given the announcement from line 6 about faster updates coming our way. Yes I know - we are not entitled to any updates ever again, yada yada yada; and many updates (and the news associated with them) is "Top-Secret" like area-51 stuff, but this discussion and question should not be mocked.
  24. 3 points
    Have you considered the HX Effects?
  25. 3 points
  26. 3 points
    Every belch and fart in the world is politicized now, and absolutely everything has to be labeled somebody's "fault". Politicians love it when the populace is at each other's throats... makes them feel like they're actually important. After all, why else would two complete strangers be willing to beat each other to a pulp over a hat that one of them is wearing? But I digress...I'm genuinely mystified that it doesn't creep into discussions more often around here. Generally speaking, there is remarkable restraint on this forum, in that regard. I fully expect it to get worse over the next year, though... I'll be shocked if it doesn't.
  27. 3 points
    So, then, we're all in agreement. Regardless of motive, the never-ending battle against FIZZ is a GOOD THING!
  28. 3 points
    And when just the wireless part craps out, now the brains of my rig has to get hospitalized along with it till it's fixed? No thanks. Want a wireless? Buy one... having absolutely everything in one self-contained unit is never a good idea.
  29. 2 points
    Thank you so much @codamedia! This seems to have solved my issues!
  30. 2 points
    Actually it's not totally true. You can use Path A full and 1/2 path B for your guitar and the other 1/2 half of path B for the mic (I assume the Mic Path will be Ok with not so many blocks)
  31. 2 points
    Good points all around. I'm curious now to check out the boomerang. PierM - Yeah, I was using BPM mode where you max out at 1 full measure, but now I realize you can have some delay blocks use BPM and others use time, which opens up the regular stereo delay to 4 seconds, or 8 seconds mono. I totally get that many users would prefer a dedicated looper, and I have some of those, but the HX is soooo close to allowing me to use less gear! My request is to allow users to set the delay time for the looper, before you start looping. It's a much simpler request than asking for full on midi-sync or anything like that. Alternately, just having a delay block that uses that long delay time, would work, you can freeze that with 100% Feedback. If Line 6 is listening, this simple request would really open up some possibilities. PierM - also - I would love to have an EDP!
  32. 2 points
    Just had the same issue following the windows 10 update (2004). Cakewalk would find the Helix using WASAPI but not ASIO. Reinstalling divers did nothing but uninstall and reinstall of HX edit and all back to normal.
  33. 2 points
    AKA "How to fit 5 tons of manure in a 1/2 ton pickup". Nothing wrong with dreaming tho.....
  34. 2 points
    Dear folks at Line 6, please update the Firehawk FX in 2019! suggestions: - improve switching, it’s lagging quite a bit sometimes... - add new effects and amps like you do with the Helix products; I’d like to see POG and HOG effects and some new boutique pedals and amps - improvements for the looper, increase of recording time would be nice to make it useful and also being able to eliminate a recording without starting playback for 2 seconds, this makes the looper useless in live situation. - overall bug fixes to add more stability to the system. I love this product and I know it can do so much more if Line 6 puts some effort in updates.... not everyone wants to buy a Helix..... i know im not alone here, just hope someone at Line 6 takes proper action! thank you for your time and I’ll be waiting for feedback!
  35. 2 points
    Give this a shot - swaps to a couple of electric sounds too. 003 Gibs Bird Soundh.wavThrow Your Arms.hlx
  36. 2 points
    I think there is also a matter of intellectual property for the algorithms implemented in digital effects such as digital delays and reverbs. If Line6 "copied" them into their own model, they should obtain a license from the inventors. Not the case for most analog pedals and amps, whose circuits are not protected by patents. And I agree with the issue of DSP power. If an algorithm uses a lot of DSP power, I would probably want to have it as a separate stompbox. The way I see it, Helix should provide models of effects that use a reasonable amount of power; for high end stuff (like Strymon-like reverbs), I don't think it would be reasonable to have them within the Helix. This is why I am curious to see which polyphonic pitch shifting effects will appear in the 3.0 firmware. These tend to be power-hungry, so while I'd love to get rid of the Digitech Drop for drop tuning and use an equivalent Helix model, I am afraid this may severely limit the number of other blocks that can be inserted in the same patch. For reverbs, I have been considering purchasing an Eventide H9 (you know, during these stay-at-home times one has to keep themselves busy...). I also have a TC Electronics Hall of Fame, so I compared the usability of the Helix Reverbs versus the HoF. It is all subjective, but here's my thoughts. For regular stuff like rock/blues, where you don't want to hear the reverb too much, I think the legacy reverbs are perfect. Actually the spring reverb is better than the one in the HoF (which sounds too kinda metallic). When you want to hear the reverb a little more and use longer decay, I think that in general the HoF is slightly better (the reverb tails sound a bit more musical to me). The legacy reverbs are very tweakable though, and you can get almost there with a bit of work. The high cut parameter is essentially a tone control (maybe it should be called as such!) and will allow you to make the tails brighter or darker. One has to be careful though, because too bright or too dark may not sound good; the HoF tone control has a more limited range where almost every setting sounds good. All in all, I am using the HoF because I particularly like a couple of reverbs and one particular Toneprint, but I could easily live with the legacy reverbs. I would not buy the HoF if I didn't have it already, and I decided against buying an H9. For the new reverbs, these are a bit more out-there; I find Glitz and Ganymede usable and the others are a bit too much for me. They sound good and may be useful once in a while, but I can see that if you regularly need that type of reverb, you might want to purchase a dedicated effect. Oh and the delays are VERY good IMO. Hard for me to see that I would want to upgrade them. I thought phasers were a bit of a weak area, but we have had the Small Stone model with 2.90...
  37. 2 points
    FACT. Different frequencies are emphasized/attenuated at different volume levels. Once you've all followed silverhead's advice and have the Fletcher-Munson charts at your fingertips you'll understand how to use specific EQs for specific presets, OR use Global EQ to establish general bedroom level settings. OR you could continue to argue against established science and learn to enjoy your crappy bedroom sound...... or keep it loud and get used to sore ears..... Having said all that, all the EQ in the world won't change the simple fact that LOUDER IS BETTER! :-)
  38. 2 points
    I’m no longer OCD. I’m CDO now. I couldn’t stand that it wasn’t in alphabetical order.
  39. 2 points
    Ideally, you choose one device for I/O. I know Apple lets you aggregate audio hardware, but if you want to maintain as much consistency as possible, you should have all your I/O on one piece of hardware.
  40. 2 points
    To get back to your original question. There's no particular benefit in connecting to a powered speaker such as the Headrush and then out to the PA, but there are some particular disadvantages. One limitation in particular is that you really can't easily control your volume for your stage monitor separate from your output to the PA. What many of us do is send a 1/4" output at line level to the powered speaker and a XLR output at mic level to the mixing board with the XLR line disengaged from large Helix volume knob. This allows you to use the large Helix volume knob to control the volume of the stage speaker and send a full signal to the board which can be gain staged at the board to the appropriate level separate from whatever you do on stage. When it comes to Powercab versus a full range powered speaker, that's ultimately a matter of personal preference. I can't say I've ever been that interested in a Powercab setup because I started using my Yamaha DXR12 setup long before the Powercab came out. I think the Powercab is a nice option for those people that prefer more of an "amp in the room" kind of sound on stage. But that comes with the trade off of not having an accurate picture of what your sound is out front which is what's important to me personally....especially when I'm dialing in my presets at home. There are a couple of considerations to bear in mind when using a powered speaker however. First, if placed on the floor in a monitor position you can get an effect referred to as "bass coupling" which accentuates low end frequencies. On most higher end speakers you have DSP contouring options on the speaker that allow you to correct for this effect. The Headrush has no such option, so you would need to isolate it from the floor in some way or place it upright on a stand. The other consideration is that powered speakers are specifically designed to work differently from traditional cabinets in the way they project sound in order to have consistent tone across a wide area and to project better across long distances. That being the case they can sound pretty harsh close up, so when dialing in patches at home you need to give them a bit of space. For myself at home I have mine mounted vertically around chest height and I normally listen from about 6 feet away as well as off-axis to get a good feel for what the tone will ultimately be like for the audience. Likewise on stage I have my DXR12 mounted on a half height pole on the backline behind me. That allows the sound to disperse wider across the stage so it's easier for the band to blend with.
  41. 2 points
    i have the exact same problem in 2020 - anybody got a solution ?
  42. 2 points
    I’ve preordered mine. Very excited! Also ordered a TRS to XLR cable, which should eliminate the need for an XLR out.
  43. 2 points
    I use it with my bassoon. The flexible of the Helix makes it a good choice for us wind players.
  44. 2 points
    Fwiw, not that I'd ever buy another one, but in defense of my EB volume pedal, I gotta say that this is pretty much built to survive Armageddon. I'm now owning it since almost 30 years already and the only thing I had to do was to change the pot once like 3-4 years ago. I don't think that's too bad for a pedal that has been the only one to make it onto each and every pedal board I ever used. The string mechanism, while seemingly strange when you first become aware of it, is actually excellent and is likely responsible for a lot of the pedals longevity. In addition, there's a reason for it to work that way, namely that the pedal can make use of the full 270" the pot provides, something most other pedals don't. Now, all this is completely irrelevant with an expression pedal that can usually be calibrated inside whatever software, but for a pedal with audio flowing through it, built quality of all parts is quite important.
  45. 2 points
    update 2: Figured it out. Finally... this whole time I was plugged into a USB 3 port. Apparently it worked fine with Win7 for years... not the case for Win10. Plugged into a USB2 port on the back of my PC and BAM... works like i should. Helix audio works. Chrome videos work. All is well again.
  46. 2 points
    Yeah, it should be OK. Just make sure you have the inputs and outputs on the Space set to line level (you'd also want the outputs on the Stomp set to line level). If you leave things at instrument level, the Powercab wouldn't get very loud.
  47. 2 points
    At this point, shoulds and shouldn'ts, or needs/don't needs are wholly irrelevant. As are the "thousands" of requests. It could be millions, and it still wouldn't matter. We don't have meters. End of story. Can't use what ain't there... we could spend all day chanting supplications to the gods, or dancing over piles of chicken bones and goat's blood, and there still won't be any meters. So either we all make do, or move on to something else with colorful (and apparently reassuring) dancing lights. What's tedious is the repeated side-stepping of this objective reality, and the oft regurgitated assertion that the unit is somehow impossible to use effectively, absent a feature that it's never had. I don't have wings, so I can't fly. Whining about it won't make me able to flap my arms to Vegas.
  48. 2 points
    Holy crap, those are some chintzy rubber feet that Line 6 is using. It’s no wonder they’re worn out. My Helix has never left my home and rarely even sees the floor, so the feet on mine are still in good shape, but I can see how they would wear down in no time if you’re gigging. I’ve seen heavier feet on clock radios. i checked a screws on my Helix and they are a metric M3 x 8mm pan head machine screws.
  49. 2 points
    Done repeatedly. For the sake of redundancy: Every living thing is born, grows old, and dies. That's life. Helix is not alive. It sounds good today, it'll sound good in 10 years. Buy it because you like it. In X years there'll be a new model, but you can't buy it now. Putting off your purchase waiting for it is a never ending cycle. FWIW - L6 just spent a great deal of time and money standardizing the underlying architecture of the entire Helix line. The purpose being to make updates and improvements easier and faster across the line. Does that sound like they're about to drop the line for a new latest greatest? Lastly, analog in this context pretty much means tube amps. Tube manufacturing is environmentally irresponsible. IIRC, there's only four major tube manufacturers left in the world. Many of the transistors and other components used to make the classic effects are no longer manufactured. NOTHING is forever. Live in the moment, tomorrow is not guaranteed.
  50. 2 points
    I can pretty confidently say I've found no reason over the last 4 years across a pretty wide range of FOH setups and venues to adjust anything globally at the Helix. First, it would affect every preset and each preset is different both in style and in use of the various guitars that the preset was designed for. Whatever you might adjust in terms of high or low cuts or any other EQ for that matter can just as easily be done on a preset basis and not interfere across other presets with different sound requirements. As far as the FOH, whatever they may need to adjust for the room it applies equally to all instruments and voices due to the acoustics of the room. I have no problem with them doing that, but my attempts to adjust for acoustics of the room would only compete with or impede whatever RTA process they're using with their sound system. Other than that there are a few of the more modern digital systems that do incorporate preset assignements for different types of speaker systems. Again that's a global adjustment that affects all inputs but in my experience it really doesn't change the basic nature of the signal I'm sending nor the way it mixes with the band. It just tends to refine the overall characteristics of the PA in a fairly moderate manner. I can't say I've been surprised at all by any of the various PA systems making my sound different than what I expect when I go out and listen to the mix during sound checks. The only time I've ever run into any problems is with much older PA systems that use older analog centralized amps and passive speakers due to the the mid range dropoff that happens with non DSP driven crossovers. But we really don't play in situations that use those type of systems anymore. As far as what I listen to on stage as our stage mix will have some slight differences from the FOH, but I wouldn't say I listen to my guitar louder than other instruments. There's really no reason to IMO. Getting an accurate stage mix is the first step in getting a decent FOH mix and I'll leave it up to the PA to do the heavy lifting when it comes to volume. But everyone is different in that regard. My job is to blend with the music and not stand out other than for leads or color fills and most of the time that requires no interaction from the FOH mixing board because I've already adjusted for that in my preset. I only mentioned the contour options as a way to adjust for differences between a floor monitor and a raised vertical monitor. I don't use mine that way as I mentioned I always place mine vertically and therefore only use the contour setting for live sound, so I'm getting the same response characteristics as if it were it being used as a FOH speaker.
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