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Showing content with the highest reputation since 05/01/2018 in all areas

  1. 15 points
    Just made this, free for everyone who likes it, enjoy it.
  2. 11 points
    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
  3. 10 points
  4. 9 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!
  5. 9 points
    NOTE: This only works if you don't use the global EQ... (I did a search and didn't see anything, but if this has been discussed before I apologize) Scenario... XLR out > FOH (PA) 1/4" outs to personal FRFR Volume control is disengaged from the XLR so you can adjust your stage volume without changing the level to the FOH (PA). The XLR outputs can be set to MIC or LINE in the global settings, but they don't have a PAD which is common on most DI boxes. Even set to MIC, when the volume knob is disengaged the signal can be borderline hot. What do you do when the tech yells out "Can you PAD the DI"? GLOBAL EQ to the rescue. Turn it on Make sure the EQ options are flat (no cuts or boosts) Assign it to JUST THE XLR outputs Turn the volume down in the Global EQ to -10 or -20 (somewhere in that range will always make the tech happy) The global EQ is now acting as a variable DI PAD across all patches... exactly what I needed. NOTE: Since the Global EQ and the Volume can be assigned to different outputs independently you are not limited to just my example.
  6. 8 points
    I apologize in advance for the long post, but hopefully there's a few tidbits of info that may be useful to some members of the forum in here. We've seen a number of discussions recently regarding where to set your Helix master volume setting, the pros and cons, and the speculations. I've mentioned several times that I normally have mine set at 11 o'clock when I'm working on and normalizing the volume of my patches, and have had it there with no problems for the last 3 1/2 years. However I have had some concerns about that that particular setting that really doesn't relate to better or worse quality of tone, but revolves more around having a better setup that's more easily managed. This stems from the fact that my rig is setup to use an on stage Yamaha DXR12 as my stage speaker which I position behind me on a half height stand in a normal backline situation, and a separate XLR output that goes direct to the mixing board using an inline phantom power blocker. I've disengaged my Helix master volume from controlling my XLR outputs and have set those XLR outputs to Mic level with my 1/4" output going to the DXR12 at line level and being controlled by the Helix master volume knob. This isolates any on stage volume changes made on the Helix volume knob from impacting the XLR signal level output to the mixer. And although this has worked perfectly in a wide range of settings with different PA's or with just using the DXR12 for instrument and vocals only through a PA, it has concerned me at a couple of levels for a while that made me start considering a change in the Helix volume knob setting. As far as background info, as you may know, when you disengage the Helix volume knob from affecting an XLR or 1/4" out, the Helix defaults to sending a signal that's equivalent to having your Helix volume knob maxed out on that output line. Even sending that XLR signal out at Mic level (which is quite a bit lower than Line level), there's still a considerable difference in the signal strength that goes into the mixing board, causing it to need the gain setting on the channel to be cut down considerably due to the volume levels within my patches which are higher due to having my Helix volume set at 11 o'clock. This isn't a huge issue as it can easily be gain staged at the board to unity, but it could present problems on certain mixing boards that might not have very capable channel preamp setups on their mixer. So by raising the Helix master volume up to 3 o'clock and adjusting my internal preset volumes lower, I can minimize this major disparity between the two signals that could potentially be a problem. Although I might lose some of the overall headroom for making volume adjustments to my on stage setup, I've never had to raise my Helix volume above 12 o'clock. So setting it at 3 o'clock gives me ample room for adjustment, and actually more headroom within my patches for adjusting master and channel volumes on the various amp models. I did this adjustment on six of my presets this morning and all went quickly and very well, although there were a few things I learned in doing it that may be something people need to consider. Although it's generally held that making volume adjustments in your preset using the channel volume of the amp won't affect the overall tone of your patch, that's true except for patches that contain effects after the amp since they're receiving a much lower input signal. Most of my post amp effects tend to be EQ's, compressors, reverbs, delays, twin harmony, and an occasional chorus or phaser, but that's pretty rare. First I didn't notice any kind of quality level difference in the sound by having higher Helix volume setting once I adjusted my amp levels. What was most noticeable were the level of dynamics in picking or plucking the strings harder. Not a huge difference, but noticeable. I suspect this may be attributed to the circuitry modeled in the amps that may act as a limiter if the channel volume is very high. What was most affected was my post amp compressor which is typically the LA Compressor. With the lower amp channel volumes I noticed I needed to raise my Peak Reduction or amount of compression from my normal settings of around 5.5 to up around 6 or 6.5 and that I needed to also raise my compressed/dry mix from around 80 to up around 90. I suspect these are artifacts from the greater dynamic range I got from the amp models when I lowered the channel volumes. Other than that I can't say I ran into any problems with the reverbs/delays or EQs. I wasn't working with any patches that used the Twin Harmony, but that will be the next thing I concentrate on. In the end I was able to accomplish what I set out to accomplish with my disengaged XLR output line signal now falling in line with the rest of the normal XLR inputs from other sources which is exactly what I was after. Hopefully some of this info will be useful to others.
  7. 8 points
    Hi Made an update of my Cheat Sheet, Line6 Helix Model Summary, if anyone are intereted. All up to date with 2.50 update and all amps, cabs, mics and effects are in order of appearance on the unite. Some corrections are also made, if someone down loaded the previus version. Unfortunately, there will be one more page as there are just too many amps and effects in the unit :-) Or, there is now room for more... I still want to keep the sheet readable, so have kept the font size the same. Download from my dropbox - https://www.dropbox.com/s/e2jsnnqwscr6iml/Line6 Helix-Model Summary%2C 2%2C50-P1.0-01.pdf?dl=0 Have fun //Per
  8. 8 points
    Agreed! Some of the guitar cabs are far better than many bass cabs... for bass use! One important trick for me is to avoid the use of certain mics (57 Dyn cuts lows!). In my experience, a close (1'') 414 Cond or 121 Ribbon give me the best results. If some cab is too dark, then the 47 Cond helps (this is what comes with the SVT by default). Then the 4038 Ribbon boosts lows too much, it is useful sometimes, but I am not sure if there is the need to boost lows when there are so many cabs that work well. Avoiding medium distance "57 Dyn" is what makes MANY guitar cabs usable for me. My favorites bass cabs (Forgive comments in "Spanglish"): Also "No cab" works really well for me. With some EQ to tame and "voice" high frequencies, but totally transparent with lows. It avoids phasing issues. We bass players have enough with our "FRFR" cabs, they are not that "transparent" in the lows, so there is no need to make the problem twice as bad. I have certain theory why some "good" or "professional" or "thoroughly recorded" cab models are not so great with the Helix or any other modeller. Their responses are anything but "tight". 1x18 Woody Blue may sound good with headphones, but I doubt it is good with the full band and using any practical real cab in stage with the full band at high volume. To me it sounds really BAD. I can understand why some bass multi effect users are enthusiastic with their presets tuned with headphones without a band and then in the first rehearsal the band tell them "This is for guitars, your old bass amp sounded way better". ================== About the blend: Some overdrives / distortion have. And this is great because this avoids certain subtle problems that appear when using parallel paths. The problem with parallels paths (besides being very limited in number) has to do with phasing issues, they are different for each amplifier or overdrive. These issues are far worse in bass than in guitar. I know that this topic can be very controversial. Some ODs don't have a blend control, but they work at low / moderate gains "as if" they had a clean parallel path. If you play bass I recommend to try Teemah! for this reason. Teemah! and Obsidian 7000 are my favorite dirts. I have a preset that is simply Teemah! plus an EQ (instead of cab) plus effects, this is one of my favorites with the band. Because it is "rich enough" but "TIGHT". And I need my bass to sound very tight in many songs / band situations. Next in my "OD" list are 3 bass amps (SV Beast and Tuck'n'Go) and then Clawthorn Drive. There are many usable blocks to create OD / Distortion, some are bass amps, some are guitar amps. IME many of them are totally unusable for bass. But there are some surprises, for example the LEGACY heavy distortion (this one requires a parallel path). Or the Tube Screamer emulation is too "treebly", but does not CUT bass, so it admits EQ to restore bass... and does not require a parallel path! (it works better in a band context this way). I really would like to add a blend control in overdrives and distortions. Now I know it is not trivial to add if done properly. Hope it helps.
  9. 7 points
    I'm into my second year with Helix and I still haven't stopped marveling at how good it is. Nor am I even remotely close to having explored it all, or in all likelihood, learned how to get the very best out of it yet. So I'm endlessly baffled by people griping about updates. To me, they are the gravy on the pie. Maybe it's an age thing - I'm 53, and spent decades dealing with the many shortcomings of various amps and cabs and pedals. To have that all just... go away has been a quietly but profoundly life-enhancing experience :-)
  10. 7 points
    I learned a long time ago that musicians "can be" really closed minded... that L&M employee seems to be one of them. Our L&M stores here in Winnipeg has them as well :) (BTW: L&M head office would not be happy with that employee for his reaction and closed mind) Give three players a JCM800 One will make it sound like a wall of mud The next makes it sound like a mosquito The next makes it sound glorious The thoughts from the peers (musicians in the wings)... 1&2: The guys got great gear but his tone isn't very good (user is blamed) 3: Wow that Marshall sounds great (amp is praised) Give three players a Helix (or any modeler for that matter) One will make it sound like a wall of mud The next makes it sound like a mosquito The next makes it sound glorious The thoughts from the peers (musicians in the wings)... 1: Modelers always get lost in the mix (blame the gear) 2: Modelers always sound thin and brittle (blame the gear) 3: He seems to get a good sound out of that thing (spiteful praise of the user) Amps and modelers are just tools... Ultimately (based on knowledge and ability) it is the USER that makes it sound good or bad.
  11. 7 points
    I'd like to add another "perspective" to this debate. These modelers are tools and ultimately in the right hands I believe you can get amazing results with both. At the same time in the wrong hands you can make the most powerful units sound really bad as well. I don't understand these posts from some people in here containing a long video of using just one modeler and then saying "I can't get these sounds from the Helix". No offence but chances are that you couldn't get them from the Fractal either. I believe that a big part of the learning curve in every modeler is that guitarists are now forced to learn how to tweak good guitar tones or purchase tone packs. I don't think it's a debate of "which one sounds better". If both can sound like real tube amps then there's no other comparison besides specifications and features and how they fit the specific user's needs.
  12. 7 points
    Will there be a forum specific for HX Effects? - that would be a great help for HX Effects users. BR Lasse
  13. 7 points
    Embedded programmer and software test engineer here. Since you seem to prefer voicing your opinion in a very direct way, I'll do so too: This crap is becoming tiring. You seem to have zero insight into software development, yet you come here and know exactly what the developers at Line 6 are doing wrong because... Yes, why actually? As an attempt of explanation: Resources are limited. The main resource in this case is the time a team of developers has in total. This time can be spent on concepts, architecture design, implementation design, implementation itself, testing, debugging, maintaining and many other tasks. Developing for a real time embedded system like the Helix isn't like clicking on a few icons in an Android App Maker to build the 16931st whoopee cushion soundboard for the Play Store. These projects eat a ton of time in every stage from concept over implementation to maintenance. Almost everything has to be optimized because any code that is inefficient would result in an audible delay, every bit of wrong code would distort the sound in various ways. This is one aspect. The other is what amsdenj mentioned: Technical debt. It's a term for tasks and unsolved problems that have accumulated over the development of a component or a product, basically a To-Do-List. This list has to be tackled someday if you want to keep your product in the market. If you look at the changelog for the 2.7 update, it's a lot of those minor annoyances that may be major ones in the wrong setting, like polarity/phase issues and amps that become quiet. The third aspect is that we are not talking about a single device here. Helix is a platform with by now a whole set of different hardware devices and a software plug-in. "Platform" doesn't equal "I write a line of code and it works everywhere". It once again may have to be optimized and it has to be tested. And no, testing isn't plugging in a guitar, checking if there's sound and if so, ship it. If that was the case, we wouldn't have to fix bugs at all. Look around in the forum. For over one year there have been complaints about the tuner, including lengthy posts, heated discussions, YouTube side-by-side comparisons with other tuners, people testing it with different instruments and what not. I play bass and have had very few issues with the tuner, but it seems to be a problem for many users. What did Line 6 do here? They addressed a complaint. Isn't that what you wanted? No, you're one of those people that not only buy a product and then somehow feel entitled to get something they want, you also have the impudence of putting yourself above a department full of most likely very experienced software engineers, programmers and projects leads saying "They're all idiots because they can't do more.". I recommend you get yourself a SHARC evaluation board, a matching C++ IDE and start writing your own DSP accelerated real time sound processing pipeline. Then you can use all your insight to add amp models, fix bugs, walk and chew bubble gum every day.
  14. 7 points
    Pete Thorn can play, and I'm sure he's an all around swell guy. However, I think... strike that...I know that reality is VERY unlikely to live up to your expectations. Trying to use patches created by somebody else, no matter who (or how wonderful) they are, is mostly an exercise in futility. You will always always end up having to tweak them to the rest of your rig, guitar(s), needs, playing style, etc. etc. Even if they were free (which they wouldn't be if L6 is cutting the guy a check), you're still chasing your tail. And yes, to confirm my suspicions I've tried (repeatedly) a bunch of downloaded patches...some free, some not... including some of the most talked about ones around here. The free ones were a waste of time, and the paid ones were a waste of money.... so I don't bother anymore. Mine work because I made them with my guitars, monitors, headphones, PA, etc... and all at the volumes at which I intend to use them. When all of those other factors are a complete mystery, and Helix the only common denominator, you're pi$$ing in the wind.
  15. 6 points
    That's life (that's life) that's what people say You're riding high in April Shot down in May But I know I'm gonna change that tune When I'm back on top, back on top in June......
  16. 6 points
    Here's how this generally goes. About 3 - 6 months after any update there is a "when's the next update" rumble on the forums. It kind of comes and goes like the tide for awhile UNTIL the "I heard there's one coming shortly" rumors. Then comes the what they should and shouldn't include along with the "this is what I heard" and "it should be coming come out......" speculation. That whole noise floor keeps rising and rising along with the "what's taking so long" posts until people start to think they can't take all of this waiting anymore. Now a couple of "I'm a beta tester and we're still testing" posts......... Then the big "an update is coming announcement". Then the "anyone heard anything about when?" and/or "what's taking so long?" posts. THEN!!!!!!..............the update finally comes. At this point the "it's been two hours where's the next update" jokes (often from yours truly) and the "great work Line 6" posts start along with the "this sucks", "why didn't they...", "well you suck if you think this sucks", "well you suck if you don't think this sucks", "are there any new factory patches?" etc. etc. posts. Finally it settles down until about 3-6 months after that. Go back to start. Did I miss anything? As far as Line 6 saying anything officially. There's no pattern really. Maybe a "one is in the pipe" post (that has happened obviously) and a semi official "we're close" post about a week or two before it finally comes out (that has not happened yet). The last official timeline given was sometime in the spring which ends in June. So no one will hear about anything until a Line 6 peep says something. Then we'll all have heard it.
  17. 6 points
    Thank you for the review and I'm so honored to be included. I enjoyed reading that and Yes Freman and Mbritt patches are Fantastic. Thank you so much for your support Sir. Glenn DeLaune Website | Youtube Channel | Facebook | Line 6 Marketplace
  18. 6 points
    Sir I’d be happy to help. Send me a note describing the situation and I am sure we can figure something out. all the best Frank Frank Ritchotte Senior Director of Operations Line 6 Inc www.line6.com O 818 575-3955 C 818 585-9767 fritchotte@line6.com
  19. 6 points
    I can’t wait to get started with it. For anyone interested, I posted an unboxing video to YT. I won’t link to it here in case that’s against the rules, but my channel link is in my profile.
  20. 6 points
    IM SO EXCITED...... Sold 2 pieces of gear today, and that means Monday morning I will be pulling the trigger on Helix Floor. Anyone for a high five?
  21. 6 points
  22. 6 points
    You do understand that demanding "proof" of something that (by definition) cannot be quantified, or otherwise measured in any definitive/ objective way, is like to trying to pick up a turd by the clean end, right? Never mind... don't answer that, we've all wasted enough time already. You'll "win" the argument by default, because what you're demanding cannot be done. It's a half-clever (yet thoroughly obnoxious) means of seeking external validation for an already fully-formed opinion. And while it makes for some festive arguments, in the end it achieves nothing and helps no one. Your Congressman would be proud.... But what the hell, I'll bite....I posted the same clips a while back in a previous iteration of this retarded discussion. So as long as we're all intent on taking yet another ride on the stupidmobile, here ya go: Listen to This Really Needs A Title by cruisinon2 #np on #SoundCloud https://soundcloud.com/user-100603322/this-really-needs-a-title Listen to Here Goes Nuthin' by cruisinon2 #np on #SoundCloud https://soundcloud.com/user-100603322/here-goes-nuthin-final-edit Love it, hate it... either way, it's no skin off my a$$.
  23. 6 points
    The thing is that comparing the stock presets or even default amp/cab settings of each device doesn't mean much. They might be models of the same amp model number, but they're not models of the same amp. They're not using the same IRs, the same mics, etc. In order to do a true A/B test, you need to start by comparing like for like... So, really, you'd at least want to use the same IR with the comparable amp models. In any case, if the Axe FX III inspires you more, get that. I have no desire to convince anyone what they should and shouldn't like. Guitar tone isn't a competition. These are all tools. Use what inspires you most.
  24. 6 points
    Allow me to spare you the suspense...Helix will not have an additional 200 amps a year from now, so you might as well break out the credit card and beat the Christmas rush.
  25. 6 points
    Well there's no way to quantify it, so it's impossible to prove one way or the other...but as far as I'm concerned, most subtle differences in tone that one perceives from one day to the next (no matter what kind of gear you're using) are exactly that...perception. Hearing is imperfect, and how we interpret sound can be influenced by any one of a thousand things, from the mood you're in, to how much sleep you got last night. I used analog gear for a million years...the way it behaves on Wednesday is pretty much the same as it behaved on Tuesday. If it sounds different, it's in your head. Regardless, you couldn't pay me to use such a "feature" if they added it to Helix. I don't want "wandering tone". Half the point of having gear like this is consistency. I want my patches to sound the same when I call them up....that's why I hit "save".
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