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Showing content with the highest reputation since 10/11/2018 in all areas

  1. 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.
  2. 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?
  3. 6 points
  4. 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$$.
  5. 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.
  6. 6 points
    I think Mooer won't get another cent from me (I had some of their small pedals at one point)... Doing what they did with EHX and getting caught only means they're doing it for other things as well. There's too many honest companies making good products to justify supporting a company that's doing that sort of crap.
  7. 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.
  8. 5 points
    Line 6 Helix 2.70 Mega-Setlists · 4 Setlists: IRs LG + IRs HG & Cabs LG + Cabs HG. · 232 Presets, each with 8 Snapshots. · 57 solo amp & 175 dual amp presets. · Cab Sets feature L6 Cabs. IR Sets feature IR blocks, but not IR files are provided. BYOIR. · LG = Low Gain (Supro->Plexi Jump). HG = High Gain (2204->L6 amps). · Each amp features Snapshots for Low, Mid, & High Gain settings. · 2 formats for dual amp presets: “Channels” & “Parallel Amps”. · LED rings color coordinated for Snapshots view. · All FX Blocks are custom named. · All Snapshots output leveled to -28.5 LFKS Integrated, ITU-R BS.1770-4, over 15sec of looped open G strumming. · EXP Pedal 2 has additional Mod, Delay, & Reverb settings. · Amp and FX settings largely derived from the SOAS Project (25%) and personal preferences (75%). · To Import, Drag + Drop directly into Helix. Or hit the top left yellow “Import” button & search for “all files” instead of just .hls. I am not sure why the Setlists are saved as .hlx instead of .hls files. · For more information, including lists of all of the amp and effects settings, along with the OwnHammer IR’s I used, please visit: https://l6helix.wixsite.com/helixsoas · To Download the Setlists, please visit: https://line6.com/customtone/profile/Noobian_Prince https://imgur.com/a/Gic53qq
  9. 5 points
    Logic is logic my friend. You're just wanting to set me up for a game where I post something and no matter how hard I work on it you say, "I hate that." I didn't fall for those games in 3rd grade when a friend of mine preferred Caddyshack to Ghostbusters, and I'm not dumb enough to fall for it now. Find someone else to hurt on the teeter totter.
  10. 5 points
    Why is a guy demo-ing a guitar speaker without having someone actually play a guitar through it? Why SAY this is different than the TS312 without actually running music through both? This has to be one of the stupidest AND most useless YouTube reviews EVER!
  11. 5 points
    Hey - First time poster. I recently got a Helix (love it so far) and while creating patches, I thought it would be nice to have a one page resource for what the blocks are modeling. I tried creating one that kept the theme of the Helix overview cheat sheet available from Line 6. Link: Google Drive PDF I use it all the time now as I'm getting to learn all the Line 6 names and what they are modeling. Thought maybe someone else might benefit from something like this. Cheers.
  12. 4 points
    I think skepticism regarding the voracity of a demo video is only warranted if you are under the impression that the person making the video acutally used a different modeller and lied about using the helix or whatever product they demo’d. I’m a skeptic about pretty much everything it’s just me. It doesn’t mean I don’t trust or believe anything, it just means i withhold belief until the claim has been demonstrated to be true. Put another way there is enough evidence to warrant the belief. in all these cases the video is the evidence, the Helix can sound that good. I’ve seen plenty of demo videos so I’m not relying on a single one which means I can increase the confidence i have in the belief. Ultimately I would have to believe that all the guys putting up vids are involved in a conspiracy but if I’m using occam’s razor I have to go with the more simple explanation. Also the crap about how good the players are doesn’t factor in for me. Let’s get real here, if buddy in the video handed his guitar to me, although I might not do justice to the passage the guitar tone would be the same for every good or lollipop note I play. The signal is going through the same chain. I’ve gone and watched bands in bars with mediocre players that have a great guitar tone. If you can’t separate the tone from the skill to decide what is actually impressing you, that’s not skepticism that’s just an inability that you need to work on. And I think if you thought about it you could probably do it, you just have to try to get past all the times that you have read on various forums that good tone is all in the fingers. And to tie this all back to the thread, I have no interest in spending estra cash on a device when I can get equally impressive tones from my Helix. That, and the added luxury of having the footswitches built in, being able to control other devices from Helix, the scibble strips, etc. It’s a no brainer. Helix hangs with the best of them in tone and it meets my needs in other departments. Rant over...
  13. 4 points
    Cool story bro. Sounds like you know what you should buy for yourself. Just curious, but do you like Hawaiian pizza?
  14. 4 points
    So even after having the Helix after 3.5 years, I'm still finding new tricks. I have a Chase Bliss Tonal Recall RKM, and one of the things I really like about that pedal is how thick, dark and chewy the repeats can get. I hadn't really spent a lot of time messing with trying to recreate it in the Helix. I could get somewhat close with the Adriatic Delay, but last night I decided to mess around with the Mod/Cho Echo model, which is kind of a boring name for a very interesting effect, as it turns out. It has high and low cut parameters, and turning the high cut down very low, like around 1.2kHz is getting me what I was missing - surprisingly so. I actually kind of prefer some of the attributes of this to the Tonal Recall, I think. The Tonal Recall does a lot of other weird stuff, but here I'm comparing kind of a basic dark analog echo sound. I used a looper block as the first thing in my chain for this clip so the same dry track is being fed to both the Tonal Recall and to the Mod/Cho Echo. Not too shabby when you consider the Tonal Recall RKM is a $500 pedal... I won't say which is which for now, but I'll reveal it later. In any case, I personally think I'll be selling another pedal very soon.
  15. 4 points
    First, I want to emphasize something about the whole global EQ thing. If you read the manual you'll note that Line 6 warns about using global EQ only for making corrections in the acoustics of the room and there's a very important reason for that. But I want to put a couple of things in perspective for you first. A key value of the Helix or any modeler is its ability to completely transform your sound from song to song, different genres, or in the middle of a song. This is something new to people who have used traditional amps. Typically you have an amp and it stays within a certain range of tone all the time. Pedals can help transform the tone, but it will always have the base tone of the amp at it's core. That's not the case with the Helix. You can move from a heavy rock sound with a Marshall amp, to a very clean bluesy sound with a Roland JC120, to a more country or americana sound using a Fender twin, to a crunchy Pete Townshend sound with a Hi-Watt. However using high cuts will vary depending on the amp model used, the cabinet used, and the mic or microphone mix used. So using global EQ gets in the way of doing that correctly because it applies across whatever amp, cab, or mic is being used. That's why it's important to keep such things within the patch itself so it can change, if necessary, right along with your base tone. Another key difference in moving from a traditional amp to a modeler is that the paradigm being used on a modeler is one more closely associated with that of a recording studio than a live performance. You've probably read stories about how famous groups with famous records record one track with a certain setup of amps and cabinets and a completely different setup for the next song. That's more in line with how a Helix signal chain works than traditional live setups where you simply plug in and play the same rig all night. You don't change your amp or your cabinet or your mic'ing approach from one song to the next, but in the Helix you can which is extraordinarily powerful in achieving a wide range of tones even within a genre or style. That doesn't mean you HAVE to make those changes, but you can if you need to. However, just like in a studio the more you understand how all of these things affect your tone, the more control you have over your tone. Things like Fletcher Munson are always in play whether you play a traditional amp or a modeler. They're more prominent on a modeler because you're listening to your sound through a particular mic placed in a particular location on your cabinet. You'll hear the same things on a traditional amp and cabinet if you place your ear in the same place you would a mic on your speaker cabinet. And if you're playing live through a PA, THAT is what your audience is hearing, which is NOT what you hear standing next to your amp on stage. That's why the first step in getting your tone right is being sensitive to what cabinet or mix of cabinets you're using, what mic or mix of mics you're using, and the placement and mix of those mics. Using a Shure SM-57 with a distance of 1" is a much harsher sound than using a Royer R121 ribbon mic at a 6" distance. Combining those two mics can give you a middle ground between harsh and dark. That's where you start when getting your tone where you want it. Any additional corrections using EQ can be done after that using a parametric or graphic eq to fine tune the sound. With all of that in mind I'd refer you to Jason Sadites exceptional series of videos on YouTube to see how he applies all of these elements to dial in a variety of tones.
  16. 4 points
    There hasn’t been much new for us Variax users for quite some time. That’ a pity because there’s nothing on the marker that can do what a Variax does for a gigging musician. Variax is so close to being fantastic, its too bad it hasn’t gotten incremental improvements to push the technology over the top they way Helix did with the HD500 series of amp modelers. So here’a a fiew ideas on what a next generation Variax might look like. Hopefully this will generate some discussion and customer demand that will help Line6 justify some new development in the Variax line. Miniaturization: Use HX Stomp engineering to significantly reduce the hardware footprint of the Variax while increasing its DSP capacity. Leverage this new hardware component to make it very easy to install Variax hardware in almost any existing guitar. This might require some routing and a new back plate, but I think we all prefer the flexibility of Variax in our own favorite instruments. Stick to the four knob layout of the Variax Standard to fit on guitars that typically have four knobs (volume, tone, model selector, tuning selector) On guitars with two knobs, use a mode switch on the knobs to change between volume/model selector and tone/tuning selector - this will take some engineering on the control, but would simplify functional layout on the guitar. Ensure VDI and 1/4” outputs sound the same and VDI faithfully reproduces the magnetic pickups into Helix Support option for VDI guitar impedance modeling and simulate treble rolloff for different lengths of cable and different cable capacitance. Support more customization slots, or better yet, just treat all blocks in the guitar the same way and use presets to load whatever block the user needs into whatever switch position they want. Allow Impulse Responses for guitar models. These can include IRs for body, pickup, acoustic bodies, mandolin, acoustic bass, etc. There’s a growing market for instrument IRs Variax should be able to leverage this. Include a model that provides access to the raw piezo pickups so that Variax can leverage IR blocks in the Helix line as well as other models for additional flexibility Support Line6 marketplace for purchasing guitar models and guitar IRs Expand the models available from Line6 (and maybe others from the marketplace) and let users choose which ones to load into their guitars. This allows the existing model to be retained for backward compatibility while opening up the possibility for new models. Its ok to have more models than what can fit into the guitar at one time. Allow additional guitar models to be loaded as part of Helix presets (just like different blocks in Helix). This will require much faster model load time that is currently available from Workbench. And finally, and most important, improve the body, pickup and acoustic models to make them “HX” quality. Do this by expanding the models available in while retaining the current 1.9 and 2.0 models if anyone wants to use these. There’s no reason to not have the choice to retain what was while opening up new opportunities. These models should just be Variax “blocks” that can be loaded as presets from Helix or Workbench HX.
  17. 4 points
  18. 4 points
  19. 4 points
    I went through TGP and got all of the info about the Helix models I could find along with some "hints" and put it in a word document for myself. I wish there was some kind of official Line 6 document with this kind of info in it. Here it is if you want to look at it. It's not really organized all that well but, hey, I created it for me. It's 40 pages long. I had to split it into two documents to attach here. It is in the old Word format. Helix Models Info 1.doc Helix Models Info 2.doc
  20. 4 points
    IMO: Option 4, which you seemed to have missed :) The HX Stomp which includes all Helix amp models as well as effects and also works as an audio interface. It's about the same cost as the HX Effects but seems to be a better fit for what you are after. No amp models, and it won't work as an audio interface like the X3, HD500 or HELIX will. It should be noted that you also need a DAW.... although there may be a free platform or two that may work.
  21. 4 points
    Yes, I see that you agree with yourself... :-)
  22. 4 points
    So, if you think there's a product that has all the amp models and effects you want, why not just use that product instead of expect another manufacturer to essentially copy what they're doing? I can tell one thing for certain, and that's that Line 6 is really not interested in trying to recreate the feature set of the Axe FX in the Helix. They have their own vision for what the Helix is going to become. Certainly that means more amps and effects in the future, but it doesn't mean trying to please everyone...
  23. 4 points
    Have you looked here? https://line6.com/support/manuals/spiderv60 Or check out my attachment: Spider V Effects List.odt
  24. 4 points
    how can an update (and it's free for chrissakes) be disappointing ?
  25. 4 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.
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