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Showing content with the highest reputation since 09/24/2021 in Posts

  1. 4 points
    A quick fix would be to only use the left output of the Helix, either the left xlr or the left 1/4 inch. If you don't have a cable plugged into the matching right channel output, the signal is summed to mono. Good luck!
  2. 4 points
    I've worked with these models a lot. I love all three of them and they are my favorite models in the Helix. Some tips: SLOs sound good with a lot of speakers but they love Vintage 30s.The 2x12 Interstate with 20 Dyn or 160 Ribn at 3.5" is the best Helix cab for that IMHO. SLOs get their sound from the preamp - it's master volume is designed to control volume not distortion. When you increase the master the top frequencies will stop getting louder at some point first - that's what some call the 'sweet spot', because it can add roundness and sustain, judge for yourself if that's what you want. I tend to keep things below that because the sound stays open and consistent below this 'sweet spot'. Soldanos go to 11! A knob at 5 on the SLO is a 4.5 on the Helix. [5.0 * 10 / 11 =4.54] The starting point for Clean and Crunch should be Bass, Mids, Treble, Presence at 4.5, Master at 3. The starting point for Lead IMHO is Bass and Presence at 4.5, Mids and Treble at 6.3, Master at 3. It loves the Stupor OD. I like it with Drive 3, Tone 2.7, Level 5 and I reduce the Mids on the amp for that. A Teemah! can push the Crunch channel to sound close to the Lead channel. The Clean channel is the a tamed version of Crunch channel so you can use Crunch with low Drive and high Master as Clean without hesitation. Combine that and you can stuff all 3 SLO channels in a preset using snapshots [EDIT] SLO's nowerdays have a Depth control, because that was a common mod on the original ones to fatten the sound. To simulate use a Low Shelf and start with +3.5dB at 800Hz. This will make a huge difference and the amp will sound a lot more balanced and modern. I spoke with an owner of a SLO some years ago who played in a Dire Straits cover band. He used the SLO's clean channel with pretty much everything at noon and a Marshall 4x12 V30's cab live and sounded absolutely wonderful. - The Helix nails that sound.
  3. 3 points
    Prior to the Helix, Line 6 used to provide a "model gallery" that was often insightful and humorous at the same time. HelixHelp.com (already mentioned above is a great resource.....) Also - I found this old thread from 2016 quite interesting when I first got my Helix. This covers the early amps, then the release notes for each update covers the new ones incrementally. https://line6.com/support/topic/19961-helix-amp-model-gallery-real-controls-vs-invented/ The Helix controls are quite good at simulating the "real thing"... so when you want to know how a product works, you can always look up a video of the real product. EG: If you don't know how the RAT pedals work, go watch a video about the RAT - then apply it to the Helix. If you don't know how the Dr Z Route 66 Amp works, go watch a video on using a real Route 66. Don't worry about not knowing it all too quickly. Get what you NEED in place, then take your time on this wonderful journey.
  4. 2 points
    Because JSON files are plain text files, you can open them in any text editor, including: Microsoft Notepad (Windows) Apple TextEdit (Mac) Vim (Linux) GitHub Atom (cross-platform) I'm not smarter than you but Google is smarter than us both.
  5. 2 points
    easy. by not using tap-tempo in your delays. Instead use actual BPM values. It's easiest to do this in HX edit -- simply type in the beats per minute or whatever values. And disable the tap tempo light ^^. I don't tap in my tempo because we play to a click. But some delay tempos were originally created with a tap button. I disabled the light and have it set up where the delays are on a per-snapshot basis and the changes are discarded. So I can press the snapshot button again and all my tempos will be back to their saved values.
  6. 2 points
    If you use the LT’s USB audio, you can use USB7 for the unprocessed dry signal. It’s much easier than doing with an ABY box.
  7. 2 points
    At first: Yes, I have tried to run the headphone out through some typical monitors (thinking it might come in handy to have another analog output level control available) and while, as @codamedia already mentioned, leveling is at least tricky and has a certain potential to damage the input stages of the following device, it does sound exactly the same as the other outputs. So there's no extra mojo happening on the HP out. Just to get that out of the way. However, as this seems to somewhat go in circles: @Paulzx, it should by now be pretty clear that your experiences are a result of you liking what's likely a less than ideal listening device. Fact is, the Helix modeling hasn't been crafted using things such as earphones. It has certainly been tested with all other kinds of output devices, though - so it was programmed in a way it'd sound good/great/decent when being used through those rather than through earbuds. Why and in what way your earphones affect the sound so you like it more - tough to know what it might be (in addition to a certain loudness-alike coloration, some of these earphones also somewhat compress the sound, likely due to the small size of their membranes, but I wouldn't exactly happen to know). It could as well be your ears perceiving things in a different way. Anyhow, as you seem to like the sound of some sound demos (that you apparently listened to using other devices than just your earphones), it's pretty clear to me that your earphones aren't the only important things in this equation. And we could possibly speculate about those things until the cows come home. Maybe it's your listening devices, maybe it's your playing, maybe it's your patch programming skills (no offense meant), maybe the Helix just isn't for you, maybe modelers aren't for you (unless you play them through earbuds), etc. All kinds of possible explanations have been elaborated in this thread by now (and they're all pretty valid, AFAICS). At this point of the discussion, the only thing that might take us a little further would be a sample patch that people could possibly evaluate. Ideally along with a little audio clip (simply because the guitar type and playing style have a huge influence on the overall tone) and a description/comparison of what kinda sound you have in mind. Alternatively, you might want to record/loop something, listen to it through whatever devices you have at your disposal and fool around with EQs until the sound is getting closer to your earbud experience. In the end, all your earbuds are likely doing is some frequency coloration and *maybe* some compression (plus the fact that your listening "position" is fundamentally different, but no other monitors than headphones will adress that issue). This should be recreatable using an EQ (and maybe some compressor/limiter). But only you would be able to do so because only you can listen through your earbuds the way you do. Anything else is not taking this discussion much further, if at all. Oh well, you could of course nag Line 6 to come up with some "earbuds mojo" block in a future update.
  8. 2 points
    I am going to provide how I would do it on my Helix LT... I'm sure it is very similar on a stomp, and if I am wrong hopefully someone will correct me. I'm going to do this through HX Edit, as it is likely more "uniform" than trying to explain it through a different device. This is my preferred method..... the Merge Block Connect to the preset through HX Edit.... Click on the MERGE BLOCK (the node where path B returns to path A) Right Click on "B Level" and assign it to a footswitch of your choice Now go to "bypass / controller assign" Highlight the "mixer > b level" assignment Set the MIN Level to -60 (the lowest it will go) Set the MAX Level to 0 Now the footswitch you assigned will act like it is turning Path B on & off by turning the Return Level of Path B up and down. NOTE: You could also assign the EQ and Ptich to that same footswitch, but I think that would be redundant. To do this using the SPLIT Block.... you can try this. Connect to the preset through HX Edit.... Click on the SPLIT BLOCK (the node where path A splits off to Path B) Set the Split to "Split A/B" Right Click on "Route to" and assign it to a footswitch or your choice Now to to "bypass / controller assign" Highlight the "Split A/B > Route To" assignment Set the MIN Level to "A 100" (only A path) Set the MAX Level to "Even Split" (this sends equal amounts to both Path A and Path B) Now the footswitch you assigned will act like it is turning Path B on & off by turning the SEND Level of Path B up and down. Hopefully that works with the Stomp & Stomp XL like it does on my LT.
  9. 2 points
    When I hear some isolated guitar tracks from recordings I'm usually surprised at how much "fizz" is often there. I also find that when I prep a tone at home I hear the artifacts I don't like but they serve a purpose in a live situation and help the guitar cut through. Perfect, sweet tones are not always the answer :) That said, I hate fizz and tend to try and get rid of it myself. This is my experience, YMMV. Presence often adds more fizz than treble so I will tend to use treble to shape the tone, and add presence only as needed. Stay away with anything with a bright cap..... If using IR's, lean toward the ones with the mic position "off center"... FWIW I usually prefer a position about half way between center and edge. The center of a speaker is "all fizz" to my ears. Ditch the big EQ's and go simple. Add the TILT EQ after the cab/IR block, then dial it back toward the dark setting. It's actually a fairly subtle EQ, so don't be afraid to get aggressive if required. Throw the "Rochester Comp" near the end of the chain... anywhere after the cab/IR. The default setting is really loud so you might need to turn the output level of the compressor down... then set the gain reduction so it is barely coming on. This is a great studio style compressor that adds some magic sauce to the signal, and really tames artifacts such as fizz. * Disclaimer: I am not a high gain player so our experiences with fizz might be quite different.
  10. 2 points
    We all here understand you position regarding the Firehawk vs the Helix boards support and development and we understand that if we would like a better performance board we can always upgrade to Helix and such. Nevertheless you, Line 6, still owe us a RELIABLE equipment which, up to this date, has a lot of reported BUGS. I am not complaining in what is the Firehawk capable to do, because I am satisfied with that, but about the Bluetooth disconnections, the “freeze” boards, the lack of firmware and app updates, the cloud errors, the looper improper performance, etc All of the things mentions before are supposed to be “strong” advantages of the Firehawk against its competitors because, please have in minds, your competitors ARE supporting their new and previous equipments continuously. If you need and example, check the Headrush, Fractal and Boss products. Throw us a bone here! I’ve previously suggested that if the support for the Firehawk is over, let us have an open source code option, there might be capable people interested in developing a PC/Mac based interface or such. Believe me, I like the Firehawk very much and I think I don’t need anything else for my musical needs, but I’m also sure that there’s still many potential that can be brought out of it, allow us to explore it and explode it! Thank you. Noe G.
  11. 2 points
    It's called a MIDI feedback loop. Two devices sending each other messages that trigger return messages that trigger return messages.....eventually there's a buffer overrun or some such geeky thing and one or both units freak out. Use a MIDI Monitor to make sure that when you send a message, the receiving device doesn't send back a message that triggers another message.
  12. 2 points
    The ability to label multiple bypasses/controls would be a decent trade off to having an additional block. If I could tweak 5 different amp/cab/EQ settings and assign it to a footswitch labeled LEAD or DRIVE rather than MULTIPLE, I could bypass a distortion/OD block altogether. And labeling Snapshots would also be great.
  13. 2 points
    Hi, I had exactly the same problem with my FS7 foot switch. But I think I've just fixed the issue. Apart from setting the EXP/FS to FS4 and FS5, I changed the 'TIP POLARITY' to 'Inverted' and the 'RING POLARITY' to 'Inverted'. They were both previously set to 'Normal'. Just to clarify, this is in 'Global Setting' under 'Preferences'. As far as the foot switch, it seems to work if the polarity is set to l or ll. And of course it's set to Momentary. Now my FS7 is working fine. Hope that helps!
  14. 1 point
    Boss pedals behave that way as well as most other non true bypass devices.
  15. 1 point
    Preset loading fine over here, so I'd check everything again. I've only ever seen this message once, when I had forgotten to update HX Edit.
  16. 1 point
    This is especially important with a spring reverb effect since in the real world, that reverb tank is in fact between the preamp and the power amp. Also, when you connect effects to a real tube amp's effects loop, they too are between the preamp and the power amp.
  17. 1 point
    IMO it depends a lot (possibly even the most) on which cab you're running things into, as with clean amps that will be the deciding factor for the overall voicing (well, not only for clean amps) and hence define whether your drives will sound sweet and silky or harsh and biting (or anything inbetween). Anyway, my personal favourites as clean pedal platforms are the Princess, the Cali IV Rhythm 1, the Cali Texas Ch 1 and sometimes the Placater Clean. I usually set all of them so they allow for a lot of real clean headroom (I often like/need completely clean sounds). If you can get away with a tad of dirt on the amp, I like the P75 or one of the other Marshall variations (the Line 6 2204 Mod takes pedals pretty well IMO, but you might even have to roll down your guitar volume for a completely clean sound as it doesn't sound too great with drive values <0.8 anymore, at least to my ears). Whenever I don't need completely clean sounds.I prefer one of those as a little bit of dirt on the amp seems to "gel" sounds together a bit better. Regarding cabs, out of the ones coming with the Helix, I prefer the two 4x12 Greenback models, but the Cali IV or Cali EXT aren't all that bad, either. I also sometimes like the 4x10 Tweed cab. Most of the times I'm using one of my own IRs or one of the RedWirez Big Pack, though (especially live).
  18. 1 point
    Not that stupid then - got there in the end! Glad you got it fixed. Enjoy your new toy - it’s quite a leap from v.2.71
  19. 1 point
  20. 1 point
    Thanks for the reference to "right to repair". I was wholly unfamiliar with it. Some really interesting reading on the subject out there. Lobbyists and lawyers can end up spending a lot of their corporate client's money lobbying on K Street and trying to craft contracts that bulletproof their EULA agreements to indemnify themselves and avoid culpability as well as discourage theft of intellectual property. These agreements can also help to protect consumers from themselves and better ensure ongoing and safe operation of purchased items. Perfectly understandable for the company in the interest of avoiding a frivolous lawsuit or a tragedy. Not so much when it is a legitimate case of corporate negligence or error, although there are laws in place to help hold companies accountable in those cases. Sometimes they protect the consumer but we all know how that can end up working out in the real world though when your rumpled suited, mail order degree lawyer is sitting opposite a top tier corporate law firm. It might or might not help if we were not such a litigious country in getting a more rational compromise hammered out between corporations and consumers. The other side of this though is just greed and profit motive. Sure, there are individuals who make their living off of "slipping" in the lobby and have a dozen outstanding lawsuits going at any one time against any company or individual unfortunate enough to come into their orbit. From my limited reading on the subject though, there definitely also appear to be areas where companies are using the legislatures to pass laws that allow them to unfairly monopolize or increase repair revenue or compel a new purchase by charging unreasonable prices for out-of-warranty repairs and essentially forcing a new purchase as the only sensible cost-effective option, rather than a repair. To be fair though, we live in a throwaway cultural and technological paradigm where often it is cheaper to buy new than the bottom-line economics of repairing an item, regardless of well-intentioned efforts by the company to restrain repair costs. I have personally experienced the frustration and difficulty of trying to procure a service manual or a part when not being an authorized repairman but this issue extends far beyond that. Third party repair centers with legitimate credentials but unanointed by corporate HQ, apparently have also had difficulty getting service manuals, parts, firmware, etc. from a variety of companies as well as sometimes being legally prohibited from performing service without the corporation's permission. It does make sense to me to deny the DIYer access to repair information on some items that pose a serious risk of fire or electrocution but I admit to always finding it frustrating to be denied access to critical repair information nonetheless. Not sure how much safer it makes consumers either. Consumers who are inclined to attempt a repair themselves may decide to wing it, which can be considerably more hazardous than operating with a manual with appropriate warnings and correct procedures. Limiting access to service info may also be more ineffective these days when a lot of those same service manuals are for sale now on various third party sites. Probably operating outside borders where they could be prosecuted or perhaps sometimes serving as a source of publishing revenue for companies but limiting their legal exposure? From my cursory reading on the subject so far though I can definitely see where there is a need, particularly in the best interests of the end user, to find some more rational middle ground. The laws governing this issue appear also to vary widely by state/country. Gonna read up some more on this. These are just my initial impressions. It is easy to see the complexities and challenges involved on both sides of the issue - corporate and consumer.
  21. 1 point
    To Install LINE 6 EDIT (For the XT Live) on Windows 10.... follow this HOW TO (the first post) https://line6.com/support/topic/59140-how-to-install-line-6-edit-on-windows-10/ To Install LINE 6 WORKBENCH (for 1st gen Variax Guitars) on Windows 10... follow this HOW TO (the first post) https://line6.com/support/topic/59142-how-to-install-the-original-workbench-on-windows-10/ I wrote both of these... and it's the method I STILL USE for each when installing on Windows 10 machines. NOTE: Don't assume anything... follow each step precisely
  22. 1 point
    This is the correct suggestion.... you can also place the delay before the amp on Path B if you want. Well.... how are you muting the amp in path A? If you are just turning off the AMP BLOCK, that does not mute the signal just the sound of the amp. The pick sound would still come through on path A. Try setting the SPLIT before the amps to a SPLIT A/B. To test the B side only.... simply adjust the slider all the way to the B side. This will stop any signal from going to Path A.
  23. 1 point
    Are we really talking snapshots here? I mean, why would you create two identical snapshots within one patch?
  24. 1 point
    I had Electronic Projects For Musicians. Another great book if you want to rewire your guitar is Guitar Electronics for Musician by Donald Brosnac. I got it when it was just called Guitar Electronics. It's falling apart. Rewired my SG so I could have my two humbuckers wired in any configuration using three 4 pole six throw switches with this book. I don't even know if they make those switches anymore let alone the ones that fit in an SG.
  25. 1 point
    This came up back in January in respect of Logic Pro and HX Edit. As GarageBand is the little brother of Logic then I would guess the same things apply (I need to double check this). This was my reply to the issue with Logic question. ”You will have noticed how Logic Pro takes control of your HX Stomp if you use it as an audio interface. HX Edit doesn’t like anything else running on USB at the same time and while you’re using HX Edit it can suddenly disconnect if it loses focus on the hardware. That is, for example, if you have HX Edit open and then spend several minutes messing around in Logic, when you go back the connection is gone”. It has been commented on in these forums for quite a while about HX Edit losing focus on some Macs - (you didn’t mention what model and OS you’re using). While you are editing a preset, should you decide to answer an email, when you click back onto the HX Edit the message pops up that the USB connection is lost. It can also lose the connection if you run iTunes in the background. Annoying, but just one of the many bits of USB voodoo, especially on Macs. I have my Helix floor constantly hooked up to my Mac via USB into Logic Pro and don’t seem to suffer from the sort of issues that many others appear to have. Don’t know why - maybe I am living on a ley line? There again, I usually don’t edit patches on the fly, but I also have Helix Native as a plug-in, which is like having a full Helix and HX Edit inside the DAW. I also have GarageBand, among many other DAWs, that I use for troubleshooting odd problems. I will have another look to see if this is still the case and post back later, as l am not in the studio for another few hours. In the meantime - simple solution, edit using your hardware HX Stomp or run HX Native in Logic Pro X or GarageBand. Another option - use a Windows PC, as “rd2rk” Hope this helps/makes sense. EDIT (4 HOURS LATER): SCRUB ALL MY EARLIER COMMENT - IT WORKS! O.K. here's GarageBand v.10.3.5 running on an iMac (Retina 5K - 27inch - 3.3GHz Intel Core i5 - 32GB RAM - OSX 10.13.6 High Sierra) switching back and forth with HX Edit v3.11 connected via USB to a Helix Floor for both recording and playback. Didn't bother with the audio on this video because it is to simply show that it is possible to have both software items running at the same time. No apparent issues - unless of course you are running something different.
  26. 1 point
    To follow up my most useless post ever, I think it was E&M ELECTRONIC SERV. LTD BLETCHLEY
  27. 1 point
    Don't feel bad...nobody's asking me to play Madison Square Garden, either...;)
  28. 1 point
    This is again comes down to the same old problem of thinking that "flat response" is somehow a standard that crosses the boundaries between all applications, which couldn't be further from the truth. I myself use a pair of HS7 speakers in my studio, but I NEVER dial in my live performance tones using them. That's because they're made for a different purpose than a live performance modern powered speaker such as a QSC K.2 series or a Yamaha DXR series which is what I use for dialing in live sounds. And they're different because they're designed to be different because they serve two different situations. Studio speakers are designed for evaluation of a sound or mix and require (by design) a very precise listening environment to be effective in which the speakers and the listener are positioned correctly in an equilateral triangle and the speakers themselves are positioned appropriately relative to surrounding walls as they often depend on bass reflex actions to provide an accurate representation of low end frequencies. Live sound is concerned with covering a wide and long space with a consistent sound regardless of where the listener is positioned. Very low end frequencies are boosted through the use of subwoofers (which all operate well below the frequency levels your typical guitar produces). What this means in a practical sense is you shouldn't be surprised if you dial in your tone on studio monitors and then plug into a PA that's using modern PA powered speakers. There are differences because there are SUPPOSED to be differences. If you really want to evaluate the way your tones will sound in a live environment the quickest and easiest way is to plug your Helix direct into a modern live powered speaker meant for that purpose and listen to it in the way that people in the audience will be listening to it. In effect, at longer distances and off-axis around the room and at a reasonably higher volume levels probably around 85 to 90 dbSPL. THAT, or something very near to that, is what your audience will hear in your live performance. And that, oh by the way, may be different from your stage sound depending on what your live setup consists of. That's one key reason people choose to go direct to the mixing board and monitor either through high quality powered monitors or in ears. It reduces the complexity and increases the consistency of your sound both on and off stage.
  29. 1 point
    No, no way to do that. What you can do is save a customized version of any FX block as a Favorite and use that copy when adding the FX block to a preset. But later changes must be made individually in each preset. Change the Favorite version first and then replace each of the existing blocks with the modified Favorite.
  30. 1 point
    Here ya go - Fleabay - from the USA but cheaper. https://www.ebay.co.uk/itm/224163403400?chn=ps&norover=1&mkevt=1&mkrid=710-134428-41853-0&mkcid=2&itemid=224163403400&targetid=1280075232379&device=c&mktype=pla&googleloc=9046330&poi=&campaignid=9441192411&mkgroupid=123206633912&rlsatarget=pla-1280075232379&abcId=578896&merchantid=115666683&gclid=Cj0KCQjw-4SLBhCVARIsACrhWLVufpgJMlCUgl6lwtmNazOms09ChfZ4_EeA9jCeMQb0tZSJRnv2BOoaAqhZEALw_wcB or Full Compass in USA - No idea about shipping costs to U.K. https://www.fullcompass.com/prod/525522-line-6-30-45-0053-volume-knob-for-helix Hope this helps/makes sense.
  31. 1 point
    There are more ways to adjust these things than room in this forum to list them. In short as far as what the Helix controls, your amp EQ controls are your first level immediately followed by your choice in cabinets, mics and mic placements. Of course before that comes your settings on your guitar such as which pickups are being used and your volume and tone controls. 90% of your tone depends on those settings, and you have ample other EQ blocks to make any final tweaks. But if you don't have those first level EQ components correct, you can play all day with other EQ pieces and never get it right. I can only tell you that after setting up the guitar and amp/cab/ selection I'm not satisfied with the tone I'll first go back and audition different cab and mic setups till I find something I like better. From there it's just a matter of making some very minor tweaks with a parametric EQ at the end of the signal chain, or in some cases a low/high shelf block following the cabinet to adjust the levels between overall highs and lows. Most of this kind of stuff is covered very completely in Jason Sadites YouTube videos which I'd suggest you spend some time with to get a feel for how to set them up.
  32. 1 point
  33. 1 point
    I can’t decide which one I liked better in the mix.
  34. 1 point
    If lows aren't there all is left is highs and highs alone are harsh.Or in other words too much above 1kHz is synonymous with not enough below Make sure the PA sounds balanced as well as your presets. Also mind the Fletcher Munson effect. Btw it's the same with headphones: a preset sounds right on one , on the next bass heavy, on the next harsh, on the next honky and so on.
  35. 1 point
    I think your mix is set to 100% on the merge. click where chain 2 merges to chain 1 at the end...isn't there a mix for summing the chains there?....basically, you need a 50:50 mix...probably dimed cutting out chain 1
  36. 1 point
    Sorry but no. It all depends on whether it's either a non-linear or timebased (or modulating - but that's pretty much timebased, too) effect. With non-linear effects, the order is pretty important. Example: two different drive blocks will sound fundamentally different in A->B or B->A order. With time based effects, most often the order is pretty noticeable. Example: A reverbed delay sounds different from a delayed reverb. Same goes for two different delays or reverbs in series. The high end however is completely irrelevant in this equation. Two EQs in series will sound 100% identical, regardless of their settings. As a result, in a serial chain of linear effects (and non-dynamic delays and reverbs are linear effects) you can place an EQ anywhere you like - and the cab block in this example does serve merely as an EQ block. Now - and I've said so already: Once you push the timebased portion of a cab block a bit more, things will get more noticeable. Obviously, you can do so by dialing in some early reflections. In this case, the cab block also acts like a "mini reverb/delay" (in addition to the EQ duties) and as a result of that, the order will become slightly more important - I doubt anyone would be able to tell just by their ears, though (I would happily supply some audio examples, in case someone wants to check).
  37. 1 point
    Well it's nice that they seem to have addressed the issue...still a little annoyed that I'll have to drop another $100 to get back the device I originally purchased. Oh well... life goes on.
  38. 1 point
    Yeah, you gotta find what works best for you. I would just say consider two things about the FM3 before buying. I thought three foot switches on the FM3 would be enough if you can control different pedals in different presets in stomp mode, set per preset (programmable like Helix)…. You can’t (at least no way I can find)!!!!!! THEY ARE GLOBAL meaning when you set Stomp 1 to “drive 1” in stomp mode it is always drive 1, even if you don’t have a drive pedal on that preset… that stomp then becomes useless when in Stomp mode for some presets. With the FM9 many people set it so the top right three stomps jump between presets, stomp mode, and scenes with the bottom six then controlling variables in each each (very similar to Helix setup which is awesome). Also, FM9 can do two amps. Just one amp on the FM3 absolutely sounds amazing with the quality and is truly enough, but a two amp setup sometimes can work wonders for tone and sound. I find that on the Helix, all of the best preset files I’ve downloaded from others online all had a two amp setup, with each amp panned hard to the opposite side. I’m looking forward to trying that on theFM9. Again, everyone has different needs, so the FM3 could be the best for you, just things to consider….. Best of luck on your choosing.
  39. 1 point
    4 Cables will get you MONO, 5 will get you Stereo. Do everything a 4CM tutorial will suggest but instead of a single cable going from the LT output to the Amp return, you need to run both the LEFT/RIGHT outputs on the Helix to the LEFT/RIGHT Returns on the amp.
  40. 1 point
    I’m going to suggest there are better pedals. brass players often find doubling and harmony effects very useful, and these are not Helix’s best attributes. there are other digital devices out there for vocals and brass that offer more of that stuff along with chorus, flange, delay and reverb and some do distortion and wah too. But their main thing is they are built for a mic input and enhancing that type of stuff.
  41. 1 point
    That configuration no - my monitors in stereo is fin for studio use. For stage I use 2 PC+, generally each with a different amp/cab combination and some stereo effects of varying width. I play in a 3 piece its largely reverbs and delays to provide a more expansive sound. FoH takes a send from the XLRs and can choose to run them as 2 mono sends if required.
  42. 1 point
    In my band, I have some mostly subtle stereo sound effects. Mainly, I use ping-pong delay on some songs that create 3D stereo sound. There are a few songs where I have hard-panned delay that is sync'ed up to the song so that I can harmonize with myself. I also (having watched Greta van Fleet rig rundown) have stereo-panning when using the wah for one part. There's also one song where at the end we all go crazy and I have a stutter sound with hard panning. I also find it is very effective to contrast the washy stereo sound with some dry mono sound for some songs, or even within the same song. If it's all washy and reverb'y, it gets tiring really fast IMO. How do I use the stereo sound? I simply give the sound person the left/right XLR cables so that the FOH can get stereo sound. On stage, I always play in mono using whatever is there: either my own FRFR or going into the power amp of an amp, just to hear myself. I think that stage stereo sound is unnecessary and may even throw me off, personally, so I use the left/mono plug to hear myself. At home, I have a pair of Yamaha monitors, where I dial in my sounds. When I practice at home, I play through these monitors in stereo.
  43. 1 point
    Works on mine. Since I never use the mic input, all the related settings are default, as they'd be after you did your factory reset. Assuming it's not your board (or whatever you plug the XLR into), because you've tested the mic directly connected to it, you may have a HW problem. Time to open that ticket. If you live somewhere that allows you to call support, I'd do that. The ticket process can be really frustrating for this kind of problem.
  44. 1 point
    I've added a Fishman TriplePlay guitar synth pickup and wireless controller to my Ibanez SZ520QML JTV-59 transplant. It is now my go to instrument for recording, and the controller perfectly covers up the through body stringing holes behind the bridge (see the photo back a few posts for reference.)
  45. 1 point
    On the HX Effects, go to Global Settings>MIDI/Tempo>MIDI PC Tx and set it to Off. This turns off the default PC message that’s sent when you select a preset.
  46. 1 point
    Thanks. There’s also this. https://helixhelp.com/models/
  47. 1 point
    Congrats... hope you enjoy it. I just want to add one more thing regarding blocks... it may trip you up when you first look at it if you don't understand how they are broken down. 32 blocks total.... 16 on Path 1, 16 on Path 2 (each path has it's own processor) 8 each on Path 1A, 1B, 2A, 2B By default, path 1A and 1B are parallel to each other (as are Path 2A and 2B) but it is possible to create a serial chain by adjusting the "split" and "merge" blocks.... effectually putting all 16 blocks in a row. If you do that on both Paths and chain the two paths, you get a MEGA 32 block serial path.
  48. 1 point
    No problem...This is fairly well known and documented in many articles...If it wasn't for Mathews, tubes would be way more expensive than they are now...He saved the Reflektor factory and put it in American hands. I do not know him, but I have followed this since the early 2000s when it all went down...
  49. 1 point
    my band Seven Circles just dropped our new album Retrograde Parade, helix was used to record all guitars, and bass
  50. 1 point
    My Buttocks hurts from all the hours I spent sitting down playing with the helix.Is that a good enough endorsement?
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