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Re: Cover Bands and whatever "authentic sounds" (or the possible need for them) Fwiw, I'm making my living playing mostly "corporate gigs" since around 30 years by now. This includes all kinds of things, more or less Top 40 stuff, sideman work for somewhat halfway wellknown singers, musical stuff, even some tribute acts. And not even once (!) in all these years have I been asked to replicate any specific sounds nor has anybody ever complained about the sounds I was coming up with. The most I've been asked for soundwise was some playing request such as "drive /w tremolo" on a musical sheet. Otherwise, people have always been happy with what I'd come up with on my own - and I never cared for authenticity at all. Others do so even less (apart from some corksniffer guitarists). Heck, most MDs I worked with wouldn't even get the difference between a single coil and a humbucker as long as the sound was clean, halfdriven or fully driven enough to suit the music. What I'm saying is: Authentic sounds might be important for us, the players. For pretty much anyone else, they aren't. Having said that, in the 3 years of gigging with a Helix, I have only used one single patch per gig (different patches for different gigs, but I never even once used more than one per show). And fwiw, FOH folks love it, believe me! They're often getting quite mad if you're coming up with totally different patches for each tune. Live playing isn't a studio recording - and unless you're a big act, trying to replicate studio tones isn't making much sense, either.

This morning's Line 6 Ideas email had a great suggestion! The idea is to keep cab block parameters while changing cab blocks. I voted it up and added to it. Check it out, upvote if you like, so Line 6 might consider it for a future update Keep Cab Block Parameters to switching btwn/amongst cab blocks Direct URL: https://line6.ideascale.com/c/idea/114452?utm_source=notifciation&utm_medium=email&utm_campaign=225&utm_term=digest-v2&utm_content=c240.m43726.rpe.w201

Upvoted!

Hey everyone... I have the same thing going on in Reaper 7.22 on MacOS 15 but it is really random after switching presets. This did not happen in Studio One but could be coincidence. Did everyone file an issue at line 6 support? If not, please do. The more reports come in the more serious is it taken. Best, Daniel

Done, and done - I’m in.

That's the unfortunate reality of how HX products work. You can instead use a volume cut technique which I personally use--take the first block and assign it to a gain block, where you have "negative gain" to simulate rolling down of the volume knob. I have been using that technique for several years. Sometimes I supplement the volume cut with a compressor that gets turned on in the clean snapshot.

I don't think it does. From what was able to gather from my experiments, it's like Pod Go switches each setting sequentially rather than instantly. So if your block volumes vary a lot between snapshot, the worse it gets. Ex; you could have 2 effects boost the volume significantly before the 3rd block reducing the volume, and this will result in an awful ear blowing during snapshot switching; the volume gets from 5 to 8 to 12 and then go back down to 5. Any luck? For myself, I wasn't able to determine exactly what causes the issue, some snapshots switch fine while others cause sound explosions of different degrees, but my conclusion is that ... It's unpredictable and rather unfixable, it's just something Pod Go sucks at; snapshot transitions. That is, the more volume varies between the blocks of different snapshots, the more Pod Go will do stupid things during snapshot transitions. If you want to minimize it, not sure how you'd do it... But again, my personal conclusion = don't try to have a clean sound and a very dirty sound in the same patch, as snapshot transitions go haywire.

Absolutely... it gets so annoying when you are flipping through a few cabs to test them in a preset and you have to keep re-entering parameters over and over.

You could also try increasing the Channel volume on your clean tone to max and reduce the amp parameters on your dirty tone. If it’s not loud or dirty enough consider adding some overdrive or distortion FX blocks to the dirty tone. Keep their output levels at default unless you really need to crank them. Be cautious about that to avoid the harsh transitions. You could also try adding a Gain block to the clean tone and turn it off in the dirty snapshot. There’s also a Level parameter in the Output block that can be assigned to snapshots. Increase it in the clean preset.

Hi, This is a peer to peer user forum. There are no Line 6 staff here and only very occasionally do they visit these forums, especially on 4th July - (See the “sticky comment” in the black banner stripe at the top of this page entitled “Welcome to the Line 6 forums”). If you have issues that nobody here can help with then raise a ticket with Customer Support. Hope this helps makes sense.

I can not second that. It's also usually not done that way in the studio (usually compressors are added during mixing, but very often guitars don't need any). Most guitar signals, especially ones with just the slightest bit of overdrive/sag, are already compressed a lot, there's usually no need to add some further compression as something you'd generally do (quite obviously, as a specialized soundshaping tool it's all fine). Add to this that adding a compressor after the amp section will cause the channel volume to not work linearily anymore as higher amp volumes will cause the compressor to work. As a result, balancing patch volumes won't be as easy anymore. On a technical note: The amp's Master Volume is a sound shaping tool. It's forcing the (virtual) power amp to work harder, hence causing compression/sag/drive. For overall level control, the Channel Volume parameter is the one to reach for. Can't exactly agree on that, either. Sure, unless you're going for some low end chugging, the very low ends can (and possibly should) be somewhat cut. But we're rather talking 100 (or maybe 200) Hz here. Somewhere between 300-500 Hz you're in a frequency range good to give your sounds some "vocal" qualities. Quite important for some patches, especially clean(-ish) leads. I would never apply cuts in that range as a general thing. Quite obviously, that also depends on the kind of cab/IR you're using, so in case there's too much of that "vocal" quality, go ahead and trim it away, but otherwise, at least for me that's a pretty important range to shape the character of many guitar tones.

It sounds like you didn’t do the factory reset after updating. If you do that (hold down footswitches C & D while powering up), you’ll get all the factory preset names. Be aware that doing this will overwrite and presets you may have saved, so if you have any you want to keep, you’d want to export those prior to doing the reset.

Well no... those frequencies are not "made up", per se. Close mic-ed "real life" cabs have some unpleasant high end fizz too, but the speakers are VERY directional. Stick your head right next to the grill and you'll hear it, but standing a few feet away and WAY off-axis from the speakers, much of that fizz never reaches your ears....for better or worse though, the modeling process captures it all. And since FRFR PA speakers are designed to give much wider high end dispersal, you're gonna hear that fizz, and that's why high cuts are basically a necessity. As nice as it would be to dial in a modeler as if it were a "real" amp, they're really a different animal. Takes some getting used to at the beginning.