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Showing content with the highest reputation on 11/27/2019 in all areas

  1. 2 points
    There are a bunch of amps that were modeled during the Vetta/Pod XT era that haven't been modeled. If Line 6 still has them lying around somewhere, I'd love to see the Deizel's they had and the Budda Twin. The Budda used to be my go to crunch amp. So are they still laying around the offices somewhere?
  2. 1 point
    Hi Nico. I was off for months from the forum and was positively surprised to see you back here, too. Did you discard your own board-project overall? My latest knowing was, that you left here for some reasons. However, I will investigate the authorisation of both model packs and get back with the information. The computer is already checked and authorized. As always... please excuse my poor english!
  3. 1 point
    Well. 6 of those 13 are Mesa Boogie. Of the rest, several are 'Line 6 Originals' ported from the HD range, leaving a small handful of real choices. But the Fender and Marshall variations just keep on coming! I've said it before on this forum, but if you look at the worldwide metal scene there are a ton of popular amp models that are just not represented here: Engl Powerball, Engl E530, Engl Savage, Diezel VH4, Diezel Herbert, Orange Rockerverb, Orange Thunderverb, Laney Ironheart, Peavey Invective, etc. I mean, the Diezel VH4 is so versatile that the Axe FX 2 has 6 different models of it. But nothing from Line 6 for the Helix. It's kind of the same story with distortion pedals. The HM-2 is such a distinctive pedal that entire sub-genres are based around it - but it's not in the Helix. The Metal Zone was another distinctive unit, which is only available as a 'legacy' model. But if you want fuzz, hey, there are about ten of them to choose from.
  4. 1 point
    Welcome back Smashcraaft! Questions: - are all the same model packs authorized in both devices? - is your computer authorized? The fact that the Black Panel Pete (which is a Deluxe Reverb based amp) has been replaced by the stock Deluxe Reverb does not seem a simple coincidence and makes me think that the Editor on the left behaves as it doesn't see the model packs, whereas I guess the original patch probably has been built the first time with the model pack installed/authorized.. Also, I suspect that being the 2 editors basically identical to each other even if not 100%, who knows, some weird overlapping data between the two could have occurred, but I'm more inclined to believe in the previous reason. _______________________________________________________________________________________________________________________________________________________________________ All about POD HD500/X help and useful tips
  5. 1 point
    Don't know what kind of places you play, but keep in mind that computers tend to be finicky about electricity, and the Helix Floor is a pretty expensive computer. Without power conditioning you could be back here asking "Why does my Helix floor do these weird things/crash/lockup/make noise?" or, worse yet, why did it wind up completely fried during that thunderstorm. A small powerstrip/surge suppressor can fit in your gigbag or guitar case, and it's relatively cheap insurance, as well as a very logical solution to needing two wall sockets, possibly on the same circuit as the fluorescent beer signs. Just sayin'.
  6. 1 point
    Very true. I hope they get fixed. Provably false, unless your definition of 'high gain' is broad enough to be largely meaningless.
  7. 1 point
    Sorry to be the opposite data point, but my usage is entirely bug free and very usable... I just want some new models for metal musicians to counterbalance the 20 or so Marshall clones in there. :)
  8. 1 point
    There are three primary parameters to overdrive - saturation (drive), tone and output level (volume). There are many approaches to controlling these parameters to get different tones for different purposes. But let's explore three broad approaches and their advantages and disadvantages. The simplest and perhaps most traditional approach is to use the amp for distortion. For traditional Fender, Vox and Marshall amps, that often means turning up the volume until the power amp distorts. Depending on the power rating of the amp and the number of speakers, this is going to be pretty loud and aggressive sounding, with a lot of odd order harmonics from symmetric clipping of the power output stage. This isn't very flexible because all the tone controls are in front of the distortion except presence or the treble cut in the Vox amp. So most of the tone control of the distorted tone comes from the speaker choice. What you loose in flexibility though you gain in feel since louder generally sounds and feels better, provides more interaction with the guitar for better sustain, and introduces sag for additional dynamics. The biggest issue though is that you have to set the amp for the dirty tone, then use the volume control on your guitar to get a clean tone. This often results in a pretty dark clean tone. If you amp has channel switching, then this wouldn't be a problem. To work around these disadvantages, you can use distortion pedals into a clean amp. Now you can get distortion tones at controllable volume levels with tone controls after distortion to tame the fizz/icepick, warming up the distortion. Pedals aren't that expensive, so you can have different ones for different purposes. This works so well that there is an explosion of fantastic distortion pedals on the market to choose from. The drawback is that it can be difficult to get a wide range of tone/saturation options out of a single pedal. To work around that shortcoming, you can use multiple pedals to create flexible gain staging in your signal path. With multiple pedals, you can set different pedals for different tone/saturation combinations for different purposes. The big question is, how should these different gain stages be ordered, and how should they be used together? I think a simple general rule (but one meant to be broken) is to put sustain before tone in the signal path. That is, you want the things that establish the drive tone to be after the things that create the distortion and harmonics, so you have more control of how those sound. For example, working backwards from the clean amp to the guitar: 1. Set the amp for you cleanest tone and overall volume. Use the neck pickup on your guitar with the guitar volume and tone all the way up to create your base tone. Tame an overly bright bridge pickup with the guitar tone control. Do this at typical playing level to get an accurate idea of the tone. 2. In front of this, place your first gain stage. This one should introduce a little breakup and with the tone set to keep the level of warmth you want. I use Teemah! for this as its tone controls work very well for sculpting early distortion tone. Teemah! also provide an option for asymmetric clipping for more even order harmonics that can sound less aggressive. This will often be left on all the time. It establishes early breakup tone without having to turn the amp up so its too loud. 3. In front of this, place your 2nd gain stage. This gain stage plays two roles. By itself, it creates a different tonal structure, often with a significant mid hump with a bit more saturation for a more aggressive distortion that cuts through the mix for solos. Stacked with the first gain stage gives increased saturation for typical leads. Use the volume and tone control on your guitar to easily adjust the amount of saturation and tonal color. I use Minotaur for this, with the gain set relatively low and volume/level set higher to drive the first stage into more saturation. 4. In front of this, place your 3rd gain stage. This one is for over the top sustain when you need it. I use two mutually exclusive options for this stage (I don't ever use them together): hard clipping distortion (OCD) or fuzz (Facial Fuzz). These will often be used with either or both of the first and second gain stages depending on the song. Fuzz especially seems to benefit from having another overdrive after it to provide more control of the fuzz tone. 5. (optional) In front of this, you can add another distortion block that helps establish the fundamental tone of your guitar. I use Heir Apparent for this because it has a lot of flexibility in setting saturation and tone. This one also stays on all the time, and isn't even assigned to a footswitch. It doesn't do that much, but you do notice it when its turned off. I use it mostly to just fatten up single coil pickup tones. I find it is better to get increased saturation by gain staging multiple pedals then it is to get all the saturation from one pedal. This keeps each pedal working in its sweet spot while also giving a lot of flexibility in distortion voicing. Another good rule of thumb is to use the minimum amount of saturation for the song. This maintains articulation and keeps your guitar from turning into an indistinct buzz that disappears in the mix. The gain staging above applies to traditional pedalboards and of course works great with Helix. But Helix has an additional level of flexibility that is generally not possible with traditional amps (unless you use reactive loads). Helix amp models have a level control and cab blocks with low and high cut. So it is possible to leverage the distortion capabilities of the amp models and cab block low and high cut to control distortion saturation and voicing. I use this in HX Stomp to get various distortion tones using a couple of footswitches to control amp drive, treble, bass, presence, and cab high/low cut to get the tones I need without using any distortion blocks. This is sort of like going back to the traditional approach, getting all the distortion from the amp, but using studio controls after the amp to tailor the tone and volume level.
  9. 1 point
    As many users are already aware there are some interesting ways you can use the existing footswitches on the Helix by looping a MIDI cable from the Helix's MIDI IN to the MIDI Out. Handy if you don't feel like adding an external MIDI switcher. This allows you to assign switches to make changes on the Helix that aren't necessarily available through the HX interface. Here are a couple, hope folks on the forum can add a few more. Wouldn't be surprised if some of these commands end up in the HX interface eventually, but for now... #1 -Turn the 1Switch looper into a 2Switch looper Puts the 'Stop' function for the 1Switchlooper on a second switch so it no longer requires a double-click to stop. Set 'Global Settings' --> 'MIDI/Tempo' --> 'MIDI Thru' = "Off" This prevents runaway infinite loop MIDI funkiness when you are looping MIDI back into the Helix Set up a MIDI cable from your Helix MIDI output and loop it back to your Helix MIDI input Go to the Command Center and set the following parameters on the switch of your choice: "Command"='MIDI CC', "MIDI Ch"='Base', "CC#"='61', "Value"=0. This will now be the footswitch you use to stop the looper. Assign the 1Switch looper to the footswitch of your choice. You now have a two switch looper and the 'Stop' command no longer requires a double click. You can stop the looper with the switch you assigned the MIDI command to and as you would expect use the switch you assigned the 1Switch looper to for other looper operations(play, erase, etc.). #2- Assign wah to a footswitch Allows you to switch the wah from a footswitch so the volume setting on the expression pedal doesn't change when switching to the wah as it does using the toeswitch Download and modify template - the easy method Download and modify the template preset below to your needs or you can set this up manually yourself. https://line6.com/customtone/tone/4397153/ If you use the preset do these two steps first Set 'Global Settings' --> 'MIDI/Tempo' --> 'MIDI Thru' = "Off" This prevents runaway infinite loop MIDI funkiness when you are looping MIDI back into the Helix Set up a MIDI cable from your Helix MIDI output and loop it back to your Helix MIDI input Set it up from scratch Instructions below use HX Edit for several steps but they could also be done from the Helix directly. You can substitute the references to footswitch#11 for whichever footswitch you prefer to use. Please let me know if I omitted anything or got it wrong but my preset appears to work correctly. Set 'Global Settings' --> 'MIDI/Tempo' --> 'MIDI Thru' = "Off" This prevents runaway infinite loop MIDI funkiness when you are looping MIDI back into the Helix Set up a MIDI cable from your Helix MIDI output and loop it back to your Helix MIDI input Add your wah and volume block using the Helix's default settings for your volume on EXP2 and wah on EXP1. The volume block should be active, wah should be bypassed, and the text above the expression pedal should have EXP2 highlit. Use HX Edit and go to the 'Bypass Controller Assign' tab and change the assignment for your Wah block for the 'Bypass' parameter to the footswitch you want to switch from volume to wah. In this example I will use footswitch#11. While you are still on the 'Bypass Controller Assign' tab clear the assignment for the Volume block's 'Bypass' parameter. So now you should be looking at three assignment entries only for both the volume and wah blocks - Wah Position = EXP1, WAH Bypasss = Footswitch#11 (used in this example) and Volume Position = EXP2 Now go to the Command Center (where you set up your MIDI commands) and set up the following values in the parameters for Footswitch#11(used in this example) Command = "MIDI CC", MIDI Ch = "Base", CC# = 59, Value = 0 The Helix uses the CC# "59" to switch between EXP1 and EXP2 on the expression pedal. Handy as we will no longer be using the toe switch. It is this capability that allows the expression pedal's control to be passed from the volume to the wah pedal without turning the volume block off. This preserves the volume pedal's last setting. As we are using footswitch #11 in this example which is on the bottom row next to the tuner switch, you are going to need to have your global settings set for Stomps on the bottom row or you need to switch into Stomp mode so you can use footswitch#11. You are done. Use footswitch#11 to switch between volume and wah. Don't use the expression pedal toe switch! Now when you press footswitch#11 (used in this example) the expression pedal will control only the wah or only the volume. Also, when you switch from volume to wah your volume will be retained at the same level without maxing out. VolWah on FS#11.hlx
  10. 1 point
    I'll post this common "when's the update coming?" post. If ya don't like it. Don't read it. It's made very clear what this thread is about so if you come in here complaining about it, you only have yourself to blame.
  11. 1 point
    Before you and others jump on the op, we were told over and over again, that the new way of coding future Helix updates would really speed up future updates. I don't feel that a polite inquiry after five months (if it's really been that long) is out of line - especially given the announcement from line 6 about faster updates coming our way. Yes I know - we are not entitled to any updates ever again, yada yada yada; and many updates (and the news associated with them) is "Top-Secret" like area-51 stuff, but this discussion and question should not be mocked.
  12. 1 point
    They definitely both have their uses. I can't get the normal gate to do anything constructive if I put it in a high-gain patch without a hard gate following it somewhere. I really wish Line 6 would implement a gate the way Boss does (or at least used to, haven't used anything for an extended period since the GT-10), where you can essentially do the "X" pattern with a single gate like you can with the NS-2 so you can place the gate wherever in the chain, but set it so trigger off the input, or the input gate. That was a cool function because you could use a mild settings triggering off the input then have the gate right after the amp so you get the gate reacting to the input signal as far as opening/closing, but gating the high gain sound.
  13. 1 point
    The "Noise Gate" in the dynamics FX section is more of a suppressor than an actual gate, similar the Boss NS-2. If you're battling noisy environments or for high-gain staccato use, the input gate with a hard gate a little later in the chain (my preference is after any dirt/compressors and before any amp models).
  14. 1 point
    Back in the days of HD500, the Noise Gate wasn't a true noise gate but the Hard Gate was and so worked better. It sounds as though this may still be the case with Helix: http://foobazaar.com/podhd/toneGuide/ampTone#noiseGates
  15. 1 point
    When running Native as a plug-in within a large DAW recording project, there's often a trade-off between monitoring through the plug-in/DAW vs latency (delay between playing the guitar and hearing the guitar through the software/hardware). In Logic, I often have to set my buffer up pretty high in order to prevent audio glitches if I want to monitor through Helix Native when recording a new guitar track. For me, its important to hear the sound of a guitar modeler and its effects in order to get the mojo of the track while recording. Yeah, I can use a guitar modeler in my Apollo Twin DSP, and monitor that in real-time, but its not the same. It's workable but not ideal. That's a big trade-off. I recently bought a copy of S-Gear (another popular amp/cabinet and effects modeler). Its not as extensive as Helix Native, but for the included amps I actually prefer its tone and response. But the HUGE benefit is that the software includes a stand-alone application identical to the DAW plug-in. Now I can set up routing through my audio interface so that I can monitor the sound of the S-Gear amps and effects through the standalone app with very low latency (8.5 ms), while recording the guitar along with my existing Logic tracks. I can leave my Logic buffer set high for large track and virtual instrument counts, and still have low latency when monitoring my amped guitar. Its delicious. And, like Native, I can choose to record the raw track, or the S-Gear processed track. Sadly, Helix Native does not include a standalone app. If there was one (and it would need to be a low-latency application), users would be able to 1) monitor their guitar modeling with near zero latency when recording tracks and 2) play through the app without having to fire up their DAW, load the plug-in, etc. P.S. There are standalone apps that will host plug-ins out there. That might work for this usage, but I haven't tested it. Worth a try!
  16. 1 point
    Okee dokee, did that. There are 4 separate suggestions for Native standalone. So vote for all. If you total 'em there are over 60 votes, so not too shabby. https://line6.ideascale.com/a/ideas/search?templateId=0&query=standalone+native
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