Leaderboard

You are correct. Your license is yours, not attached to the device. The device allowed a discounted price which is now not available to the new owner.

Wow, lots of really good comments here. Thanks. Just following up. So it sounds like there may have been slight differences and it was ALL in my head..... however, the bottom line is I am very very happy with what I have now. I absolutely love it. Just for background if anyone is interested, I play mainly my tele and can go from very clean to dirty clean to crunchy to more hairy overdrive (not metal but more warm bluesy full overdriven state). I used to use the Zed amp as a base and then have 3 stomps (one to up the amp drive and adjust volume, the Minataur(sp?), and either the Temo or the Compul drive. with the latest update, I started using the Clarity as a starting point. It is really clean and has a ton of headroom and stays clean. I then use combinations of stacking the Prize Drive, the Teemah! and the Horizon Drive to get the different levels of overdrive I need. it is great! at least for me! I also use snapshots to switch between modulation effects: Chorus, Trem, 145 Rotary, Script Mod Phase, and no modulation. I have those 5 snaps assigned to one footswitch so I can roll through each of those and turn on the one I need. I also have a snapshot that I use for spacey sounds which turns on the chorus, delay, and another reverb. I used the command center to assign that to a foot switch that rotated between the spacy and the clean. Unchecking the snapshot option on the drives and amp lets me keep my tone the same no matter the other snapshots. I am sure there are improvements, but this works great for me now and gives me a ton of options. Clar PzTH DD C .hlx

You realize that this is an 8-year-old thread and the person you're replying to hasn't been back in 7 years? I'm thinking their problem was solved, and they never got around to reporting back. FWIW - after they replaced some boards on mine 6 years ago, the digital I/O (AES and SPDIF) have worked fine. I see you're a new member so WELCOME and BEWARE of ZOMBIE THREADS! They'll eat your brain! ;-)

The 8i6 has S/PDIF. Assuming that when you say Heilx you mean the FLOOR model, not the LT, this is how I do it with my 18i20. NOTE - the 18i20 uses different USB #s - 9/10 (7/8 on the 8i6); 11/12 (5/6 on the 8i6): With the 8i6 set as the ASIO Device in your DAW. Guitar>Helix>Helix FX (OD/MODS etc)>Path 1 Output Block=DIGITAL Helix SPDIF OUT>8i6 SPDIF INPUT DAW Track Input USB 7/8 (SPDIF)>Plugins>DAW Track Output 5/6 (SPDIF) 8i6 SPDIF Output>Helix SPDIF IN>Helix Path 2 Input=DIGITAL>Helix FX (Delay/Reverb etc)>Path 2 Output Block Helix MAIN Outs In Focusrite Control you want the SPDIF Outputs (not MUTED) set to "SOFTWARE (DAW) PLAYBACK 5/6". All other Inputs MUTED. Whichever 8i6 Outputs your speakers are connected to should be set to whichever 8i6 Inputs your Helix MAIN Outs are connected to. In my case I connect the Helix XLRs to the 18i20 Inputs 1/2 from where I can use Focusrite Control to route to the 8i6 Outputs 1/2 (Studio Monitors). 3/4 (Powercab), 5/6 (FRFR112). This configuration provides minimal latency as the signal chain is DIGITAL from Helix to Scarlett to DAW to Scarlett to Helix with the only AD/DA conversions at the Helix Input and Output - the path from the Helix Main Outs through the Scarlett to the speakers is analog. To RECORD the final Helix Output setup another track to take its INPUT from whichever 8i6 Inputs the Helix Main Outs are connected to - in my case Inputs 1/2. If you have an LT you can still do this, but unless you use the LT as your ASIO Device you'll be adding conversions.

I have owned my Helix LT for about 6 years and love it. I needed a backup to my LT that was closer in functionality than my old POD HD500, so I purchased a brand new Stomp XL after exploring various options and doing some research on the XL. I noticed immediately on powering it on that volume output was way lower on the XL than my LT. I went ahead and set up an equivalent to my favorite custom patch on my LT - I went block by block and set every dial the way they are set on my LT, but still there's a huge difference in volume. LT set at 55% roughly the same as the XL at 85%. Wondering if it was just a difference in headphone output, I checked with my FRFR hooked up, but the same issue persists - way lower volume on a roughly equivalent patch. My HD500 behaves very similar to my LT volume wise. I've gone through all the menu settings and found no setting that would explain the drop in volume, so I ask the community - am I missing something? Did I receive a dud? Both LT and XL are on patch 3.71.

You are using a fixed power amp and cabinet.... that means you need to turn off the cab modeling in the Helix. Cab/mic modeling into a real cab is NOT a good starting point. It may work when someone is really knowledgeable about what they are after, but the general rule is to turn it off! Relying on factory presets is futile at best, but the majority of those will have cabinets loaded. When creating presets just add a "preamp" or "amp"... do not add "amps+cab" When editing others presets, replace the "amp+cab" with a "preamp" or "amp". (If the preset has separate amp & cab blocks, just remove the cab block) NOTE: When doing presets without cabs, going direct or using headphones will not be a good idea.

No, the Engl Z12 can only send MIDI PC (program change) messages - you can use it switch select presets. It can't send CC messages which are required to do the stuff you asked for.

Had mine for about 9 months and I've basically now settled on a single patch for guitar, with 4 snapshot variations within it. To my mind, the appeal of the Pod Go (and probably all modellers) is that it's an all-under-one-roof solution that plumbs straight in the PA, with no humping heavy gear around up and down flights of stairs. Sound guys love it. It's quick, efficient and sounds more than good enough. It really comes into its own when playing bass as there's nothing more disruptive to a good onstage sound than a thundering great bass rig pounding away. So yeah - for me the depth of the menu is great, but once you've found your sound, lock it in and forget about it :-)

Anytime! Always happy to share what I've figured out or learned from others. Just remember to keep it simple. Get your foundation amp tone and volume settled and move on from there. As I said, think about where you want to go. And remember as well, a button in stomp mode can be so much more than an on/off control. Well.....when you get to that point.

Thanks you everyone - I'll try your suggestions

It all depends on the song. Most of the time I stick with one amp/cab and dial amp gain up and down....along with my guitar volume controls (or the volume pedal on the Go). Same with effects and settings. However, there are certain songs that I need a spanky clean tone for ("Float On" by Modest Mouse for example) so that gets it own patch. Acoustic songs also have their own patches and such. Three patches in stomp mode cover everything that I need. However, if I were in a Pink Floyd tribute band, I would probably create a bank of patches for each album with each patch being setup a bit different per song. So it really comes down to how you want to use the Go. There was a great thread over on The Gear Page forum discussing how to approach all modelers. Basically, it comes down to determining where you want to go. Say you want a Metallica sound. Well, a Vox amp won't really get you there. It can with some help....but why try when you grab a Mesa with a Mesa cab (or JCM800 with Marshall cab if you want the earlier sounds)? As with any rig, figure out your foundation and then work from there. And remember, just because you have access to all of the effects doesn't mean you need any of them.

All different mics and their positions change the tone and the volume of the signal. You can adjust the volume of the amp/cab blocks to level off your sound. But most importantly, once you figure out your main sound, just leave it alone. I do not recommend changing amps/microphones between your presets. Otherwise there will always be volume/tone discrepancies that you can only really discover if you do a sound check at the venue you are going to be playing at. I have picked all the ingredients of my sound and they are the same in every preset / song that I play, always.

Dial in your sound and leave it alone. Simple. Otherwise, there's no end to the amount of things you can tweak. Options paralysis.

If you use an audio interface to use Helix Native, it can theoretically color your sound / add drive / remove drive. In addition to the output levels mentioned above.

Here is how you can test for defective MAIN INs on the unit: Plug into input R and listen if it is still dull (add a +3dB gain block if you want to match the level of input L). If it is not dull but input L is then it's defective. If both are dull: Set Global Settings -> INs/OUTs -> Send/Return to Inst and Return Type to Return. Set the input block to Input Return L/R by turning the lower knob clockwise one step. Plug your guitar into Return L and test for dullness. If it is not dull but Inputs L/R are (and Input Z is at 1MOhm) both Inputs are defective. Report back.

I'm a recent convert to the POD Go and, despite trying over the years, i stayed away from modelers and deep menus. However, after a few rehearsals and gigs with the POD Go, I'm quite comfortable with it. Like you, initially I found myself micromanaging and tweaking too much. I ended up trying some free patches....and then bought some packs (as well as some IRs). This made things much easier. Start with an amp/cab combo that matches what you are looking for. Dial it in like a real amp. Add effects and tweak the settings....just like a real pedal. Ignore the global high/low shelves....heck, ignore them on most patches as well. By doing this I quickly created the right patches for myself and my band. The factory presets aren't very good IMO and makes starting off a bit difficult. Something I found by using other peoples patches is that you discover options that you wouldn't know existed. For example, say you operate in stomp mode for your distorted rhythm tone and want a boost for a lead tone. You put a boost in a pre amp block and dial it in to taste....but it's still not working for you. Well, the button that you assigned to the boost can be used for much more than turning the boost off and on. You can assign it to any other option as well. For example, you might want to change the IR in the cab block, increase the amp channel gain, and boost the mids. Easy! Set the min/max on those parameters and assign the boost button to all of them. One button push, 8 parameters changed at once! That was a cool one to discover and keeps you from having to do the pedal dance (which I am not a fan of). Again, it's a function that I would not have known of unless I downloaded prebuilt patches.....or stumbled upon a video or forum discussion.

I use two outputs, one goes through a cab block to FOH and IEMs, the other no cab block into Powercab 112+ or 212 (depending on the gig) always in Flat/RAW. I find I really like the sound of the Eminence speaker. So I treat Powercab as a 1x12 or 2x12 powered guitar speaker in a closed back cabinet. I don't try to make it sound like something it isn't. That's speaker configuration works well for me in a gigging situation. Powercab is a really great platform for use with any modeler. I find it convenient, reliable, easy to use, very flexible, and sounds great. It's perhaps not the best FRFR since the speaker is a guitar speaker, not HI-Fi, and the tweeter is coaxial which limits the high frequency dispersion a bit. I wouldn't use it for bass for example. It could probably be used for keys, but might not be that great.

Check the Global EQ.

Have you explored the Customtone site (see top of this page)? Filtering for the Catalyst amp series I see 121 presets/tones available for download. Perhaps some of them will provide at least a starting point for further tweaking.

I appreciate the time you put into uploading a clip. The clip made me more convinced that there is no or negligible audible difference between said firmware versions.

Fractal...;) Sorry, couldn't help myself, lol. Sadly I'm not the one to ask, but someone will likely chime in. Be prepared for IT- themed questions like what OS you're running, etc etc.

For the record, my following support ticket has now been logged as a bug:

No...I said that I liked the sound of the sample video. That was not the sound I was getting from my amp. Not even close. I contacted tech support and was able to reload that preset. Now it works perfectly. I think that preset must have been corrupted during the update process...Or something. Thanks again for great tech support from Line 6!

If there is such a setting it doesn’t seem to be documented. Which means there likely isn’t.

He’s using the POD Express, not POD Go. It does not have the Clarion model (at least not yet?).

Here's the section on the Dynamix from my eBook, The Big Book of Helix Tips and Tricks (v1.1). FYI - For those who already have the book, the free update to v1.2 with the new goodies from 3.50 is [finally!] coming out this month. ----------------------------------------------------------- Dynamix Flanger This flexible flanger has three control options: LFO, Envelope, or Manual. This is a complex effect, particularly with Envelope control, so we’ll cover each control option as if it’s an individual effect. LFO Control Fig. 2.31 shows the controls that affect the LFO mode. Figure 2.31 The relevant controls for LFO mode. Speed (Rate), Depth, and Mix are standard LFO flanger controls. Phasing chooses two different flanging characters. Negative values produce in-phase flanging, which gives a more resonant sound. Positive values create out-of-phase flanging, for a more hollow sound. At 0, there’s no flanging effect. Also at this setting, there’s no audio with Mix set to 100%. Recycle adds feedback, which emphasizes the Phasing parameter’s effect. Max Delay sets the longest point of the flanging sweep, up to 100 ms. Chorusing and chorused echoes are available at longer delays, with low Depth settings. If the delay is long enough to give audible echoes, Recycle adds repeats to the echo effect. CV Tracking changes the sweep direction, so that it spends more time at the top part of the sweep. It’s more useful for Envelope control. Envelope Control With this control mode (fig. 2.32), the flanger’s sweep responds to the dynamics of your playing instead of an LFO. Hitting your string after a brief period of silence triggers (or re-triggers) the sweep. Until the next silence, the sweep tracks your dynamics. Mix, Phasing, Recycle, and Max Delay work as described above. Figure 2.32 The relevant controls for Envelope control mode. Note that the envelope controls interact. Referring to fig. 2.33, here’s how they work: CV Dynamics sets the sweep range, based on your dynamics. With low settings, playing dynamically covers a narrow sweep range. Higher settings cover a wider sweep range for similar dynamic changes. Env Input matches your playing’s dynamics to the sweep range. Set this so that hitting the strings hardest covers the highest part of the sweep set in CV Dynamics. When first triggered, CV Tracking determines whether the initial sweep goes from high to low (Normal), or low to high (Invert). CV Decay sets the initial sweep time, from X1 (barely noticeable) to X4 (still fairly fast, but obvious). It also smooths the envelope, so with chords, the envelope sweeps smoothly instead of jittering. Env Lag introduces a slight delay before the sweep starts. Note that when re-triggered from silence, the 0.0 ms setting seems to be the same duration as the 100 ms setting. For minimum Env Lag, choose a 0.1 ms setting. Fig. 2.33 shows the relationship of these parameters for a decaying guitar chord with maximum Env Lag, and a long CV Decay. Figure 2.33 How the CV Dynamics, Env Lag, and CV Decay parameters interact. Manual Control With manual control (fig. 2.34), no parameters are affected by the LFO or the Envelope. The remaining parameters work as described for LFO and Envelope control, and they are good candidates for use with the Expression Pedal. Figure 2.34 Parameters that are relevant to Manual control.

Hey guys, So I was having the problem of installing gearbox on my new macbook pro 2012 on MacOS Sierra. Unfortunately I didn't find much of a solution here but I figured it out and I thought I'd share my solution. My Toneport GX now works with my mac and audio seems to work fine. Installing gearbox So if you run the master installer (.mpkg) you'll quickly see that you can't choose your hard drive because it's not OS X, but MacOS. Instead you can right click on the .mpkg file when you first open the installer and click on "Show Package Contents". Then go to Contents > Packages. Now you'll see the directory containing the individual packages. Be sure to click keep after running each package when it prompts you to move the .dmg to the trash. Install all of the packages except for the Driver Uninstaller. I don't know if the order you do this in matters but I just went for drivers, driver prefs, gearbox, plugins, line6 monkey then frameworks. You will likely have to keep security settings open to authorise running each individual package but it's a small inconvenience in the grand scheme of things. after you've installed the packages test to see if GearBox is working. Installing Drivers Go to the software download page and select your_device_name > Drivers > Mac OS X and download the driver. I didn't have any issues installing this one the typical way of just running the package. After installing the driver everything worked like a charm when I opened GearBox. Note The only shortcoming I noticed was that every time I open GearBox it gives me the first-time prompts even when I hit "Never show this again" and it opens up the documentation but I don't lose my custom tones or anything.