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Showing content with the highest reputation on 06/23/2019 in all areas

  1. 3 points
    So, here we all are ..... drinking heavily until 2.8 comes out.
  2. 3 points
    Really? I did not know. Please if someone from line6 reading this, don’t give attention to my words. Sorry guys
  3. 3 points
    Lovely one with the retsina!!! Now absolutely seriously, one time that i was sailing, (i am seaman) i brought ouzo with me. I shared it with the crew (filipinos) and they put fanta orange juice. I was shocked, but they insist on me to try it, and honestly it is really a great combination. Now greeks want to kill me though !!
  4. 2 points
    @rd2rk You wrote what I thought. Thanks man. !! @jjharris The page is surely great but since I am user and owner of serveral Line6 products I would expect to get infos here from first hand in the official forum from official employers and maybe later somewhere else in other forums ;-)
  5. 2 points
  6. 1 point
  7. 1 point
    If it's that important to you to be "kept in the loop", get ye over to The Gear Page, Digital and Modeling Forum, Helix 2.8 thread. It's 99 pages long, and it's where L6 has been keeping us in the loop all along.
  8. 1 point
    A little bit offtopic but Helix related: I disassembled the Helix to clean and attach the decal. Something very interesting came in my way. Look at the photo. The main CPU sits on a detachable board. IF (just speculation) Line6 releases a Helix II, there could be a possibility to upgrade the CPU... if, if, if... It can be done by experienced users or by Yamaha service partners. ;-) Just an idea.
  9. 1 point
    =spring in southern hemisphere ;)
  10. 1 point
    Ha, ha, ha - so that’s what you put in your Retsina (Ρετσίνα)? What goes with the Ouzo?
  11. 1 point
    That is crime indeed!!! All people should know by now that wine is better with sprite or soda, not coke!!
  12. 1 point
    That’s insane, what possesses people to do something like that? They have no taste. There should be a law against that! Crime against wine!
  13. 1 point
    Computers don't usually weird-out on their own. Yes, the hardware design can be a problem sometimes. Power supplies can and do fail after a while. And, they have lots of help with that from the code (software) running in them. But the computer itself is just like a car, or an engine, or even a gun for that matter, in that it will sit there on a table(or in a garage), all by itself for decades and decades without ever doing a single thing wrong, until one day when a human tries to fool with it. Maybe it is "us" that is buggy? After all, weren't we the last ones to touch it? ; )
  14. 1 point
    Yea, that is exactly what I was thinking, I just wanted to make sure I wasn't being to presumptuous. This part is the part that made me think if there isn't a template, that I can just spend about 20 or so minutes creating one for myself. Which is not an issue, I took a few minutes programming my razor keyboard to use the macros within FL studio. (quick ones like save, undo/redo, copy, and paste) Being able to expand that with my feet will be fantastic!
  15. 1 point
    In synopsis.. Helix : takes seconds to turn on is touch sensitive is black has many holes is economick Is not complaining If it could bring a beer, i would be the first man to marry it... Well done line 6.
  16. 1 point
    The first time I got drunk was on Jack and Coke at a camp-out with high school friends. I drank one and it tasted, and then had another. The next morning we drove to the Waffle House for breakfast and I got sick. When I leaned out the window on the highway to barf, my glasses blew off and broke. When I got home my parents asked me what happened to my glasses, I told them we were playing hide and seek and I ran into a tree. I can't even look at a bottle of Jack Daniels now.
  17. 1 point
    The iPad editor for the FH-1500 is very well thought out and once paired with your FH-1500 you will wonder how you did without it. Also, get the FBV3 foot controller- and u will be in heaven!!!
  18. 1 point
    How dare you suggest that no one is deserving of instant gratification, delivered yesterday, at someone else's expense!!!!...Now where's my safe space and box of crayons?!?! ;)
  19. 1 point
    I appreciate the detailed post because it makes it much easier to respond to you. You have no idea how rare that is around here... I exclusively use a FRFR setup using a Yamaha DXR12 as my speaker. I'm in an 8 piece band and we have a similar setup to yours in terms of a normal backline situation. Although we commonly go direct into the mixing board with our instruments, there are several cases in which we only send the vocals, harmonica, and congas through the PA and depend on the backline stage sound for everything else in smaller venues. My setup is the same either way in that I have my DXR12 on a half height speaker pole positioned behind me. There's a lot of good reasons for doing it this way. First, these monitors are designed to have a wide horizontal spread of sound and a much more limited vertical spread of sound. If positioned in a wedge position either in front of you or behind you, your bandmates far to your left or right won't get much of the benefit due to what would normally be the limited vertical spread. However, positioned upright on a pole it has exactly the same effect as a normal PA speaker as that what it is. So in a smaller venue it simply augments the FOH speakers in that it has the same kind of long distance throw as a normal FOH speaker. It makes for the best of all worlds for both you, the audience, and your bandmates. As far as going with a full FRFR setup, you'll likely need to make some adjustments to what you're used to with a conventional cabinet. I've been doing this type of setup for so long (about 6 years now) that I get a bit frustrated when I use a cabinet because I'm so used to the clarity and definition of the FRFR speaker cabinets seem muffled to me. I'm a bit concerned about your choice of speaker quite frankly though. In the powered speaker market you pretty much get what you pay for, and the Headrush is more or less the lower end of the market. You may be fine with it, and many people do use it, but it all depends on the style of music you play and how critical you are about exacting tones that you dial in. We play a very wide range of genres including rock, blues, jazz, rockabilly, R&B/Funk, and I use a variety of guitars, so I'm pretty much OCD when it comes to getting the tone right for a given song. If your band is more specific in genre it may not be that big a deal to you. The best way I found to adapt to doing FRFR live is to think of it like I'm dialing in my sound for a studio session and what I'm trying to achieve is a studio sound live. If you think of it that way you won't be thrown off by the whole "amp in the room" thing that bothers a lot of people, because there is no "amp in the room" sound in studio recordings. This also means you'll need to be much more attentive to the things that are relevant to studio production such as compression, cabinets/IRs, mic usage, mic positioning, and EQ to get the finished, polished sound you would normally want in a studio. You'll hear a lot about using high and low cuts due to the expanded responsiveness of a FRFR speaker, which is true to a certain degree, but not always a given depending on the amp, the cabinet, mic and mic positioning. In effect you need to develop your ability to hear what frequencies are problematic and the different ways you can go about correcting them. The biggest transition is in dialing in your tone. It's important to be as near as you can to performance volume levels in order to not be fooled by the Fletcher-Munson effect. And you definitely want to dial in your tones through the FRFR. The main thing to remember is FRFR speakers are specifically designed for long projection of sound and will be much more harsh close up to the speaker. This is the reason you don't seat people right in front of a PA speaker, because it takes a certain amount of distance to resolve the mix between the horn and speaker. I normally stand 6 feet or more away from the speaker and often off axis to check my tone when I'm dialing it in. My biggest issue is often getting too aggressive with high cuts. What sometimes sounds right in isolation is far too muffled when combined with the rest of the band. Hopefully that helps you or gives you some ideas about how to approach this.
  20. 1 point
    Fair enough...to each, their own. We're all entitled to our opinions. I do have one question though: If reverb+modulation= "good feeling reverberation", what's the recipe for a "$h*tty, repressive, weight of the world on my shoulders" reverb? It would be perfect for covering "Dust In The Wind" ;)
  21. 1 point
    Great idea re: the IRs. I read that elsewhere as well and it makes sense. I wound up exporting all of the presets and using a program called DriveZ (http://www.inet.hr/~dragvola/), which is a tiny, free app. I created an Excel doc with all of the names of the presets and some columns next to each for the IR name (or names, since some use two). A bit of work, but now I have everything backed up and can view it offline (since I don't have the ability to get to the Helix much every day). Thanks for everyone's input!
  22. 1 point
    You don't have to use the command prompt. You can export individual presets to a specific folder if you want to keep track of them. Unfortunately the only link that a preset has to it's IR is the location of that IR in the IR list, not the IR itself. What most of us do is export either the individual presets or the setlist to a specific backup folder. For IRs we rename the ones we have loaded isomg a three digit number that designates their position in the IR list as the first thing in the IR name. We then export our IR list to a different folder. Because the IR name now has the 3 digit number at the start of the file name, they remain organized in the file system in the same way they're organized in the IR list. Therefore, if you need to do a firmware upgrade at some point (which wipes out your IR list) you can simply select all of the IR's in your special IR folder and drag and drop them in mass onto the IR list to restore them to their designated location. Then when you load your backed up presets, they're still pointing to the correct IR.
  23. 1 point
    I would suggest starting here... https://helixhelp.com/ ...and start by going through each amp one at a time. The amp descriptions often have settings guidelines. Each amp also has a youtube video or two (or three) so you can hear examples of the amps and they often have settings suggestions. The amp's manual is also often available here and they also very often have amp setup suggestions. Take it slow. I mean if you had all of these amps in a room, how much time would you expect to spend with each amp in order to get it's capabilities? I'm guessing at least a couple of hours. And let's not forget the additional time you'd spend trying different effects with each amp. It's easy to get overwhelmed by all of the choices but just take it one at a time. I mean if you had a room with all the Helix amps in it, you would probably start by playing only one amp at a time at first. Just think about how long that process alone would take. This will help you get a feel for the Helix's amps and what they're capabilities are. And it's not like you HAVE to experience EVERY amp right away. Grab a Marshall and spend a day with it alone, then play with some EQ's, and then with your favorite effects. Utilize all the suggestions here that apply in your exploration of each amp. This is one way to get a good foundation to start with.
  24. 1 point
    I read through all these hints, and wonder what tones you are searching for and what guitars you guys are using? I see one person say he adds pad to 4 out of his 5 guitars... And I wonder why? Are they active pickups, passive pickups, are you doing some chunka chunka metal sound or are you a jazz clean player. Hints without context can be misleading and cause all kinds of problems for people who are trying to apply a hint meant for one context to something completely different. If we're going to post hints, I highly recommend posting what hardware / guitar(s) you are using and its pickups and config, and an audio clip showing how the hint is applicable. I realize how much work that is. But as easy as Helix is to use, the complexity of it and the dependencies are mind boggling enough without having us chase our tails down dark tunnels only to find out we were digging for days for nothing.
  25. 1 point
    - Get familiar with the different amps to gain an understanding of how they are best used. For example, what models are primarily oriented toward clean sounds, toward crunchy, or overdriven sounds. What artists were known to use them? You will likely end up with a set of 7 or 8 amps that are your "goto" amps for certain types of sounds. Do some investigation on the internet about why the amp was popular and for what reasons. This can help guide you in how best to use them. - Establish a way of normalizing the volume between patches. The easiest method is to use the meters in a DAW or invest in a small mixer with meter lights to help you set the volumes evenly between patches. Get your patch sounding the way you want it, and as the last step use this process to set it's volume equal to your other patches typically by adjusting the output level on the output block or adjusting the output on the cabinet as these shouldn't affect the overall sound of your patch. - DO NOT adjust high and low cuts via the global EQ. Global EQ is meant for adjusting to room acoustics. More importantly every amp, cabinet, mic, and mic placement will have an effect of what is the best high or low cut value to use for that patch. Learn to use your ears to guide you in setting these types of cuts. - Use the same or very similar output device to the type of output device that will be used live to ensure you won't be surprised when you go live with your patch. Keep the volume up high enough (80 to 90 db) when building the patch so that it will reflect the sound of the patch when played at normal live volume. At lower volumes the human ear can deceive you as we become much more sensitive to certain frequencies the louder they get. - Build the base sound first (amp, amp EQ, cab, mic, mic placement, hi/lo cuts and general volume) to get the tone right before adding effects. - Compressors are your friend. They will add the professional polish to many of your patches just as they do in the studio. Each of the compressors respond in a slightly different manner and are best used for certain types of sounds. For example, the LA Studio can be a very subtle and non-intrusive compressor to bring out even articulation on a clean sound, whereas the Red Squeeze is a bit easier to setup and provides a nice Rolling Stones, The Who, or Doobie Bros. "strained crunch" on a crunchy style tone. Compressors can be placed at the beginning of your signal chain or toward the end with slightly different effects. Try them both to see which best fits your patch. - Harmonizer and pitch effects (dual guitar) tend to be a bit cleaner when placed after the amp and cab toward the end of the signal chain. - To keep your options open to doing dual cabs in parallel signal chains you may want to create separate cab blocks rather than amp+cab blocks. Very often combining cabs this way can overcome the harshness or brittleness you my hear negating the need for high and low cuts. Use an A/B split to determine how much signal goes through each cabinet. - Combining a Reverb and a Delay in parallel paths can provide a very lush reverb/delay sound found in many recordings. Don't overlook the value of dry patches however. There are quite a number of artists that use this to great effect to get a very stark "in your face" crunchy sound when combined with aggressive palm muting. - The Helix is very accurate in reflecting picking techniques just like a real amp. Very often you can get a more aggressive dynamic or a smoother dynamic by simply altering where you are strumming (between neck and bridge) or the pressure you're picking with, or even the angle of your pick. - The general rule of thumb for amps is that adjusting the master volume will add dirt to the sound whereas the channel volume tends to be a more pure volume adjustment. In some cases you can lower the master volume and increase the channel volume to get a very full clean sound. - Sometimes a particularly rough bass or high problem can be fixed using the parametric equalizer easier than high or low cuts. Often with lows you can clean up boominess with a 2 or 3 db cut in a fairly narrow Q in the frequency range around 180 to 220 hz. You can also take a bit of the edge off of highs without killing the whole range with a narrow cut of 2 or 3 db up around 4000 to 5000hz. Place this toward the end of your signal chain. That's about all I can think of right now.....I might come up with some other things if I think about it a while...
  26. 1 point
    I took this comment from another thread as I really think it is the 400 lb gorilla in the room. I primarily use presets that I've purchased from either Scott or Glenn and will be using Chris as well. They all seem to speak my language so I see no reason to re-invent the wheel. I'm also still exploring my Helix. I learn things every time I fire it up, and frankly I'm glad I didn't get into too deep on my own presets as Snapshots has been the game-changer that I didn't realize I was looking for and now I feel comfortable to start. However, IR's... I'm an old fart. I need to be sitting at comfortable workstation if I'm going to do extensive editing, and if you get a bunch of presets and want to try them out.... well "a bunch of editing" is what it takes. You have to go get the IR's, than figure out what slots they go into for each preset and load them. Of course, you have to hope that the IR from another preset doesn't take that slot, else you need to load the IR into a different slot and then edit the presets to point to it. Oh yeah... and then some IR's have a recommended global EQ setting and that's something you'll want to dial in anyway... There has got to be a better way. Thinking as a programmer, functions have names. It doesn't matter how they get into memory as long as they do, and then they are called by their name. I wonder if there is a way to do this with IR's. It would seem that the current coding with modification could almost support this. To be specific... 1. You would load your IR's. Each would have to have a unique name, but that's it. Just load'em. They don't go into slots as such, just load'em until you can't load no mo... I assume the limit would be the same number of slots.. but the "slots" won't matter. 2. When you need to add an IR block, you get a list of loaded IR's. Now here's where the beauty lies... If you have loaded an IR called "Vox AC30 1a" ANY preset, that has "Vox AC30 1a" in the IR Block is going to find that IR. A couple of corollary ideas would be that if you loaded a preset that referenced an IR that you didn't have loaded yet, the IR block be maybe Yellow or some other color to let you know that an IR is being referenced that isn't loaded. Then all you need to do it load that IR if you have room. Just spit-ball'n here, but it would seem "name" based rather than "slot" based would make life a whole lot easier in the long haul. I'm sure those with more experience have idea's too. But at the very least, this would eliminate the whole annoying restore process after updates. Doesn't matter what slot, just load'em up.
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