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Showing content with the highest reputation on 10/04/2019 in all areas

  1. 4 points
    No wireless stuff (inluding BT) built into professional gear. <- Full stop.
  2. 2 points
    And when just the wireless part craps out, now the brains of my rig has to get hospitalized along with it till it's fixed? No thanks. Want a wireless? Buy one... having absolutely everything in one self-contained unit is never a good idea.
  3. 2 points
    Please no.... Good wireless units are not cheap... this would raise the cost substantially. Building in a bare bones cheap receiver would be a mockery to the Helix. Users would still need to buy compatible transmitter(s)... Users that don't use wireless would pay (steeply) for something they don't use Users that do use wireless would be forced into using this one.... or they could still use their own and #3 would apply to them as well.
  4. 2 points
    Have you checked your global settings? The level settings for the outputs may have changed (line/instrument)
  5. 1 point
    Fairly simple question, what do you generally do when you are dialing in any sound on your Helix? It's less about getting a specific sound and more towards methodology. My own goal here is simply to try another persons method and see does it affect the sound I come to in the end. E.g Will it be brighter and cut more or will it be darker and thicker etc. I know my method is usually: Set all EQ to 0 Set gain to half way or to generally where you think it fits for what you are going for and depending on the amp itself Set Presence to half way and same for resonance (if there) and flatten all post eq(again if present in the amp) Set your channel and master volumes as you like from here Next ramp mids to 10 and then adjust backwards until you are happy Follow the above except using your treble next Adjust presence if it is a little too ice picky or not enough clarity coming from the treble Follow this up with setting bass to 10 and working backwards Adjust resonance just like presence to prevent it being boomy or lacking bottom end Then adjust your gain to better suit the EQ Add effects from here. So what do you do?
  6. 1 point
    Ocassional mistakes aren't dumb. Not admitting them is. I wouldn't be so hard on yourself. There are so many parameters and options with setups these days, mistakes are just going to happen.
  7. 1 point
    Turned out to be user error on another piece of gear. I had disconnected an expression pedal that was controlling volume via MIDI CC and it defaulted to the lowest value. Dumb, dumb, dumb. 2.82 update went without a hitch (after all).
  8. 1 point
    We have added some other body colors with the Standard and Shuriken. And have switched to ebony fret boards on the guitars in general.
  9. 1 point
    The folks at Sweetwater just told me that Line 6 expects guitars to arrive in November, meaning they pushed back the arrival date another month. It looks like they're also selling a three-single coil pickup model - labeled "New" on the Sweetwater website. I hope I get mine by Thanksgiving this year. Hope springs eternal.
  10. 1 point
    89 is not made anymore, but the 89F is still in production.
  11. 1 point
    Ok, sorry I know this is non trivial stuff. Currently I use this is for gigin. : Left (A) IR to FOH Right (B) Without IR to SD Powerstage -> CAB When I'm at home and using the Stomp as my primary soundcard I attach two studio monitors to Main L/R and control the volume via the volume pot. Very nice but I have to change in each preset A level to get rid of the non IR signal and center path B My desire would be to use the send for the non IR path like in my first post. But without the Volume block (due to six block limit) This also has the advantage that both path could be stereo. Hope that explains it a bit better.
  12. 1 point
  13. 1 point
    I've been struggling a lot during my initial months with the Helix ending up with a lot of tones that sounded ok over earphones at low volume but didn't work in live situations at high volumes. I've watched as many instructional videos I could possibly find, asked for advice here on the forum and gradually started to develop a method that works for me. Now, whether that also works for you I don't know, I guess you need to figure that out yourself :-) Anyway, my current method is (roughly) as follows: I start with selecting an amp + cab block on path 1 simply to get a basic idea on how Line 6 set up their models and amp/cab combinations. Next I change the amp+cab block to an amp block and on path 2 create 2 instances of the cab that came with the original model. The cabs are put in parallel and one of them will be mic'd with a 57 or 421 (at 1 or 2") while the other will be mic'd with a 121 or 160 ribbon mic (at 3 - 5 "). The split will be an A/B split so I can adjust the level going through each path. The ribbon mic paths will have a relatively high early reflections level and very often I add a room reverb in the path with the ribbon mic as well with a fairly high mix (35-45%). Depending on the amp and/or cab I sometimes add a shelve EQ in the path with the 57 or 421 and cut around 2-3 dB above 2 kHz. Typical high cuts are around 5-7 for the dynamic mics and around 8 for the ribbon mics. I prefer to use high and low cuts on the cabs, usually the low cut on the ribbon mics will be a bit higher than on the dynamic mics (dynamic ~80, ribbon ~100-120). Following this I tend to use the "Sadites" type of mastering section consisting of a parametric EQ and a studio comp (with level and gain around 5) at the very end of the chain. The EQ is very often not used I need to admit. Starting from this I start playing and adjust the amp settings to my needs. I find that very often the stock settings give you a very decent tone. More than often I dial back the presence to avoid any "ice picking" sounds when played at high volume. Only after that I add effects. I only use the basic ones most of the time, i.e. boost/overdrive, delay reverb and chorus. The delay and reverb go in after the cabs, the chorus very often after the amp (not sure why I do it like that). Having said all of this, there is no "one size fits all" approach and many of my presets have some variations, like e.g. an additional tilt EQ position just after the cabs are combined. Oh and by the way ... I generally program in mono (just a personal choice) Very important is to test you presets also on higher volumes and/or different speakers. Nowadays I use an Alto TS308 at home to develop the presets. This is a rather bright speaker, but I find it to work pretty well (and I believe it is nearly identical to the Headrush FRFR 8" version). The PA in our rehearsal room is much "darker" but the guitar sound still cuts through sufficiently. Hope this gives the basic idea of what I do. Ask me in another year or so and I may do it totally different..... still learning every day, and I find myself playing with the device more than playing the actual instrument from time to time :-)
  14. 1 point
    Hey guys!! I’ve been seeing a lot of questions about these subject, so I hope I can help with this video. Cheers!
  15. 1 point
  16. 1 point
    useful trick I saw somewhere (not sure where) is to put a looper block first in the chain and put you in a loop of typical playing for what you would play with that preset, then let it loop while you fiddle and adjust stuff. :)
  17. 1 point
    This approach might work for you. My headphone send runs off the XLR outs, and drives my in ears through a solution that allows me to mix in ambient and monitor sends from FoH (eg vocals).
  18. 1 point
    There was a bottleneck in shipping, it's been cleared up, so things are flowing again.
  19. 1 point
    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!
  20. 1 point
    Thanks for your thoughts! I´ll go with the 212 plus when it´s released! Despite it´s overpriced! D
  21. 1 point
    I was stuck at 50% too. I restarted the updater - no luck. Restarted Helix and it wasn't detected by the updater. I ended up uninstalling all Helix related software and then reinstalled Line 6 Updater and HX Edit. Rebooted my PC and started up the Helix - it got detected and I was able to redo the update no problem.
  22. 1 point
    Another Firehawk owner who'd like to see some support! C'mon Line 6, it's the 21st century. We bought this product exactly because of the promise of connectivity. Inclusion of Bluetooth and cloud made it seem like you were going to stand behind this product for a long time. You did three updates in the first four months, one update a year and 8 months later, and we're now just two weeks shy of two years since the last update. (Weak round of applause) Fix the looper, give us some new amps or cabs or effects, show us something! Every updateable device on the market continues to get updates, whether it's phones, tablets, computers... the Firehawk should too!
  23. 1 point
    Hope you don't think I'm a wise-guy, but I'm having trouble understanding a couple of things about your post: You say that you removed the SD card containing the firmware, then booted the amp. That seems counter-intuitive to me. Will the amp actually 'boot' with no firmware? 'It hasn't played up since.' Do you mean that it's been 'ok' since you did this -- it hasn't messed up, screwed up, goofed up? 'Played up' is a phrase I'm not familiar with... Thanks.
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