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Showing content with the highest reputation since 02/06/2021 in Posts

  1. 3 points
    No latency that I can tell Tuning is amazing but not entirely free of artifacts depending on what you're doing Modelled guitars are good as substitues but require 'tuning' to fit your need and theres lots of 'model packs' about put together by some very knowledgeable people https://www.vguitarforums.com/smf/index.php?board=138.0 My use case is largely live - Standard >> Helix >> PC+ or DT25 I chage tuning and guitar models between and within songs using snapshopts For live my rig went from 3-5 guitars, 2 x heads, 2+ x cabs, pedal board, DIs for accoustic to 2 x variax standards (one spare), Helix and 2 x PC+ or DT 25 Both standards have been plecked, bone buts put on, and locking trimmng tuners put on - very happy with the feel as a lng term fender player - had a couple of JTV 59s I couldn't love due to feel not working for me Have also used for recording projects and not told people what the guitar used is and never had tone or tuning questioned - including dobro and accoustic models in open tunings and slide Yes - I'm a fan.
  2. 2 points
    The press and turn the knob thing has been part of snapshots pretty much since they first appeared. Definitely a great method if you are working directly on your device. Discovered this one too for HX Edit. Shortcut: In HX Edit, highlight any parameter by clicking on its value or title and hit the letter "S" once and it will be assigned to snapshots. Hit "S" a second time and it will unassign that parameter from snapshots. Handy shortcut and I find it faster than right-clicking the parameter and selecting 'Snapshot' from the bottom of the pulldown(should be at the first or second position in the pulldown IMHO). Occurs to me that if they added a Shift-Select and Ctrl-Select ability to HX Edit such that you could select multiple parameters on a block at one time, assigning them to snapshots could be done in a single keystroke.
  3. 2 points
    So I have a Helix and am constantly amazed with what it can do in terms of emulation of amps and effects, but my sounds don't always sound as good as they could because, probably like most amateur guitarists, I don't change my strings very often. Then it occurred to me that with all of this processing power, how come there is not a "string cleaner" emulator that could make a guitar with old strings sound like new? I'm sure that every guitarist out there would appreciate this and it would save us a fortune at the same time. Come on Line6 - sort it out! Clean our strings for us! Ernie Ball might not thank you for it but the rest of us will. :-)
  4. 2 points
    If you need new and more, every other year, you should buy a new 2021 smartphone with Amplitube, or BiasFX. Professional audio equipment is a different market, thanks god (and still needs cables).
  5. 2 points
    Nice tip on using the Tilt EQ! Modeling is facing some fundamental challenges to accurately reproduce the impact that changing mic axis in relation to a speaker. That is because one of the additional changes when you modify the axis is not only that the highs picked up directly from the speaker are reduced/increased but also that axis orientation changes how the mic picks up room reflections. Providing a user the ability to accurately and completely modify the axis(versus an IR with a fixed axis) would appear to require modeling room reflections in addition to frequency changes. This might be accomplished perhaps with a library of virtual room options and the algos to support their interaction with axis changes; similar in some ways to the way reverbs give us choices such as room, hall, cave, stadium, etc.. Eventually I think modeled virtual room reflections will be required to get closer to more comprehensively modeling the changes moving a mic's axis make in the real world. This aspect of mic placement might seem trivial but there seems to be a fairly sincere and sustained effort in modeling to accurately track the more subtle details of how equipment and sound operate in the analog world and bring them within the digital domain. Until some of the other details required to faithfully provide dynamic changes to mic axis are modeled, I guess capturing the frequency changes gets us halfway(or more) there. IRs/captures I believe also provide us a currently available method to capture room reflections more accurately, but only for a single fixed axis orientation(or a single fixed axis per mic if using multiple mics to create the IR). Although it is basically an advertisement for Townsend Labs "Sphere" mics, the following article has some interesting details and graphs regarding changes of mic axis. https://townsendlabs.com/why-mic-axis-matters/
  6. 2 points
    In case you haven't seen it, there is a great website that allows you to view the settings of any Helix preset. https://dbagchee.github.io/helix-preset-viewer/ Of course, many of these presets have additional blocks that aren't available in Pod Go but I've still found it very useful for building similar tones. Just download a Helix preset and open it up in the viewer to view the parameters of each block.
  7. 2 points
    I mean to level the Helix Presets within the Helix, so that the output level is the same for all of the presets. I'm not really familiar with the XR18. If it has Input level meters you could use those, combined with a db meter (on your phone?) and your ears. Then you'd only have to set the Trim once, and FOH only has to adjust the Channel Volume as necessary for the song/room. Keep in mind that if you're using a clean boost for solos (I use a FS with MIN=0/MAX= +4db), you'd want to set the trim with the boost ON.
  8. 2 points
    I've been a JTV user since they were released in 2011. As others have said, JTV's are really cool, and have many advantages especially since you have a Helix. Unlike others, I really like the JTV guitars; I have a 59 and 69, like the feel of the necks, they have been totally solid players, the quality of the components is very good. I used to bring 3-4 guitars to a gig, now(if I ever play out again) 1 will do. Here are my bullet points: They are on par with the quality of a MIM Fender, PRS SE, or similar guitar The mag pickups are very good, no need to replace unless there is a specific pickup tone you need Most of the models are good, but not great. There is a different attack envelope because of the response of a piezo pickup. With the Helix ability to blend the mag and modeled pickups, you can get better sounding models too. My favorites are the Strat, Les Paul, Gretsch, Rickenbacker and Danelectro. The Tele and the Les Paul Special are ok, but not great. The ES-335 doesn't sound like any I've heard- very nasal sounding. But having the option to try out all the guitar models is great fun and good for gigging or recording. Integration with the Helix is the bomb.com. Unlike Brue58ski, I don't have a problem with Helix changing guitar models. When building a preset, I load a Custom tuning at standard tuning- problem solved. The ability to change guitar, amp, and effects with the stomp of a footswitch is just amazing, especially when playing covers. Also, the VDI connection eliminates the need to keep the battery charged. Alternate tuning on the fly is indispensable for me. Especially with the Helix. Palm muting with the models doesn't sound or respond like the mag pickups. It was improved in the last software update but not totally solved. Either use the mags or adjust your technique and accept the difference in tone. Other guitarists will be confused and amazed when you go from a Les Paul into a Marshall, a Strat into a Deluxe Reverb, a clean Martin acoustic, and a Ricky 12-string in a Vox- all in one song... Just say "it's all in the hands" I love mine, play them all the time, and hope they don't drop the Variax development.
  9. 2 points
    As the comment above, from “DunedinDragon”, the EQ block would be more functional after the amp/cab block. Easy to fix.
  10. 2 points
    ok its working, Here is what I found 1st, make sure you back up your presets, I followed the recommend procedures by Line6 several times with no luck, I did change the process slightly and it works, maybe good luck but maybe its the difference Please delete the following files: /Library/Application Support/Avid/Audio/Plug-Ins/Line 6/Helix Native.aaxplugin (note:, I didnt have this directly but I did a search and found it and deleted it) /Library/Audio/Plug-Ins/Components/Helix Native.component /Library/Audio/Plug-Ins/VST/Line 6/Helix Native.vst /Library/Audio/Plug-Ins/VST3/Line 6/Helix Native.vst3 once all gone, I did the following Folder 1: /Library/Application Support/Line 6/Helix Native/ Folder 2: {user folder}/Library/Application Support/Line 6/Helix Native/ You may need to unhide certain library folders. You can do this by pressing Command+Shirt+Period when you're in the Finder window. Then I deleted the trash file on my mac, I opened the Line6 authorisation tool and deuathorised my Mac Restarted my mac, Restarted the Line6 Authorisation tool and authorised my mac. from there I reinstalled the latest Helix Native, restarted my Logic Reauthorised my Helix native by the login section at the bottom of the plugin and it worked. That worked for me. I stand by what I say, make your copy protection but not at the risk of a failing product for actual people who purchase the software.
  11. 1 point
    Ooooo. Thank you for that shortcut tip. Is there a list of shortcuts somewhere? I couldn't find one in the manual. One thing I do not like about things these days is more and more products will have functions that aren't well documented at all. It seems like it takes someone to accidentally discover something.
  12. 1 point
    Exactly what silverhead said above.. Early reflections parameter basically sets the volume level of the very first few milliseconds of the original room (where the cab has been miced) resonance, ie how much you want it to contribute to the amp/cab final sound.. You can clearly hear its effect on the final sound if you turn off the reverb in the chain and turn up the E.R. parameter. It is not a twin reverb specific parameter, actually it is available for each amp/cab included in the device. _______________________________________________________________________________________________________________________________________________________________________ All about POD HD500/X help and useful tips
  13. 1 point
    Over on TGP there's a thread in the Digital and Modeling forum about the XL. In it, DI explained that the only reason that the XL exists is to satisfy the common complaint of "not enough footswitches", and that it wouldn't have happened at all if it hadn't been a cheap fix to that specific problem. It was not intended as a "New and Improved" Stomp except for more footswitches. FEAR NOT! They still love you!
  14. 1 point
    A few things that I've found that help: Finding a good all-arounder amp model for the music you play and using snapshots and controller assignments in stomp mode to modify gain, eq, ir, and volume to help reduce the amount of effects blocks eating up DSP. Using a Pre EQ before the amp block rather than a tightening overdrive, and modifying your own IR's and loading them into your Stomp rather than post-EQ blocks in your chain. Using one effect for two things like the 3 Band Comp for EQ+Comp or a Delay with a level parameter boosted for leads with delay
  15. 1 point
  16. 1 point
    The answer to all your questions is no, with one clarification. Using a second signal path will use more DSP if you add blocks to the path. But it’s not the added path that uses DSP - it’s the added blocks.
  17. 1 point
    Ah yeah many class D amps, if they don't have large enough heatsinks to dissipate heat caused by using more watts, can overheat if they are played at max/high power for too long, so likely that's what you're experiencing... Built-in amps in the monitors are probably overheating... I was also thinking of mentioning FRFR, but they're just different beasts; anyway, some of his points might be argued (ex; can elevate FRFR), but, design-wise, a FRFR with a 2000 watt amp (made to play loud, live; like a PA speakers) vs studio monitors; which are designed more to be tonally accurate, maximize sound quality over quantity, etc., it's more about what you want/need. Not saying studio monitors are better, many here seem to absolutely love the headrush FRFR 108 and say they sound absolutely fantastic. (haven't heard the FRFR 108 myself) https://forum.fractalaudio.com/threads/headrush-frfr-108-vs-studio-monitors-please-help-me-choose.152476/ So just depends what you're after. I remember a long time ago while researching music & HT speakers, many were recommending studio monitors as opposed to audiophile speakers for music: Save $ on 'overpriced' amps & get 'pro' gear which suffers less from audiofoolery & snakeoil BS like audiophile gear tends to have; no audiophile 'pricing'. So go the pro route by going studio monitors for sound quality imho good idea. Anyway, imho, for a more music or sound quality investment; studio monitors likely the way to go. For a guitar only with possible gigging, playing with band, etc., then yeah definitely go FRFR.
  18. 1 point
    S/PDIF is Inputs 9/10 in Ableton, probably same in BG.
  19. 1 point
    Native has hardware DSP modes. You can set it to HX Stomp mode and it won't let you use mode DSP than the actual HW allows.
  20. 1 point
    Better. I've had mine since 2016. I use it a LOT. OK, try it this way. You already have the HD500X. DL the Helix 3.0 manual. Is there anything the HD500X does that the Helix doesn't? Answer: No. Is there anything the Helix does that the HD500X doesn't do? LOTS! Is L6 releasing regular improvement updates to the HD500X? No. Will they ever? Not likely. Will they continue to release improvement updates for Helix for the foreseeable future? Yes. Search the TGP Digital and modeling forum Helix thread for posts by @Digital Igloo and @benadrian for hints about their plans. Bottom line for minimum use scenario (plug in and play): It sounds better, it's easier to use and it's all around more powerful. There's NOTHING about the HD500X that would justify keeping it, other than you already own it, you're totally happy with it and you can't afford a Helix.
  21. 1 point
    I’m actually not 100% sure what that means, but I’m certain it doesn’t mean you’re limited to only downloading the installation package one time. You can download that until the cows come home... It may be saying that the free download can’t be transferred as I mentioned above, or it might be saying that you don’t get two free licenses if you buy two Helixes.
  22. 1 point
    I don't want to rain on your parade, but all you'll find is a mystery... and that's if the specimen you happen to get has the problem in the first place. It's a common, years old problem that likely has numerous contributing factors, particularly the tone you're using (higher gain makes it worse), playing technique, pick attack, etc... which would help explain why some guys have the problem and some don't. Whatever the cause(s), it's far from universal...and if it could be solved with a soldering iron and/or rubbing alcohol, that would have been discovered long ago. The simple truth is that it's imperfect (and now decade old) technology... for all the things it does well, it's still got a long way to go.
  23. 1 point
    I also have the 18i20, and use it with S/PDIF when I'm playing through my Studio Monitors (vs PC212). I record with Scarlett as interface. Helix and Scarlett need to be at the same sample rate. Global Settings>Ins/Outs>Digital Output needs to be set to S/PDIF. Scarlett mixer needs to have the Input of the Output you're monitoring on set with S/PDIF enabled. Scarlett Clock Source needs to be set to Internal. That's probably the problem. You also need a proper digital cable, audio RCA won't get it. Here's a screenshot:
  24. 1 point
    Hi, I’ve been a Variax owner and line 6 Variax pods and amp owner for a couple decades now. Sometimes I’m amazed at the comments of dissatisfied customers. (I in no way am part of line 6 nor do I speak for them) . Line 6 didn’t start as a guitar company, rather synth centered stuff. But they had some great ideas. I know line 6 advertises instead of bringing multiple guitars, just bring a Variax. Well I’ve been a luthier for years and when the Variax came out I purchased a 300, 500, 600 which is a 300 with tremolo, and the 500 and 700 are similar. ALL the models back then used the same firmware the same sounds and were interchangeable where hardware was allowed. Number 1. I have never believed one amplifier would service this guitar correctly. Especially if you’re trying to play a classic sound of any type then try to play an acoustic guitar through the same rig. If you can only have one rig let it be sent to a high quality pa and use a line pod. Usually when you plug a Variax into a pod, and turn the model non either on the guitar or the pod line six has some pretty good presets to start with, then you can tweak from there. I’m semi retired now on a fixed income and can’t afford the latest in the pod family but I’ve listened to many they are awsome. My BEST Variax rig was 2- 4x12 marshal cabinets . I accidentally came across a vintage Acoustic speaker cabinet. It had 4 vintage celestion green backs 25 watt, and Jimmy Hendrix favorite the 55hz version instead of the 75hz that almost everybody uses. I also use a line 6 short board floor pedal and a line 6 - x3 pro rack unit. For power I used the Mesa bogie Stereo 4 6L6 GC 50/50 stereo power amp. Nice tube compression. So I used my edited tones from the X3 and it sounded fabulous. I also used their Variax editing software. I grew up playing during the mid 60s through early eighties. So I created a bass guitar model that sounds similar when played through my bass amp rig which I’ll talk about some other time. I made a patch where one was a Gibson Les Paul and the bottom one was the precision bass. You know how bass guitarists sometimes followed the lead player in some funky stuff or blues. What an incredible sound and with the foot switch I can turn the bass off and on by copying a patch calling it b instead of a so when I did chords I most often would switch the bass off. what I’m getting at, and especially fir guys like me who no longer has a band but still love recording in my home studio with my Logic x. before line 6 was putting mag pickups in Variax I was doing it. Only problem I know nothing about the software part of this so my guitars had way too many knobs and switches. I saw the JT stuff. It was starting to het too expensive to buy one to canabalize and hope to get your money back with a sale. Then the standard came out. Like I said I started a strat body design with all the contours and that big battery pack is in the way. One of my Variax conversions I still have is a GIBSON Les Paul Double cut. I decided to leave the tone control out because that can all be adjusted with the pod x3 and easily edited and saved . Pluse I never moved the tone control that much . I don’t miss it. I also left the battery cavity out of that one. Anyway it’s clean. Not as clean switch wise as the jt, but it’s not bad. having a Variax is a commitment. If you don’t put much time into this platform, well your sound will give you what you give it. But put some real time in what she’ll do you’ll be a pleased player. Anyway not trying to be know it a;l. I was so impressed with the potential of this system I really got into them. I think I’ve purchased 50 different Variax guitars and bass. Sold most but the favorites/ if you ever have a question with builds or what ever, I don’t know everything like the designers but certain ally have spent the time to get what I want out of it. If you are ready to dump your Variax standard contact me.. I think they are great
  25. 1 point
    THIS^^^ is exactly the thing I ponder most often when I read posts in this and other forums covering the Helix. Clearly given the more technical nature of modeling it constantly surprises me that so many people still avoid investigating and learning about all the technology pieces that the Helix depends upon in order to achieve a great performance. I've often wondered if learning these sorts of things is maybe just a generational thing of not having interest in it, or if it's just something that takes time and exposure. But certainly people are at great risk of not being able to take full advantage of this type of technology if they just absolve themselves of any responsibility to learn and master these technologies that allow the Helix to be the best it can be. I have to believe I'd be very wary of investing the amount of money one can invest in modeling if I knew I was going to be at the mercy of someone else knowing what to do in order to make it all work well.
  26. 1 point
    Yeah I love the poly pitch/capo idea, and for my song specific presets, I try to get everything on Path 2, as I leave Path 1 for the Poly effect to drop down 1/2 step. If I need room, I'll try and copy/paste a block or two from Path 2 Pre-Amp up to Path 1 to see if it'll paste or not. As most times its a comp or OD or something that isnt super DSP heavy.
  27. 1 point
    I'll throw a little more gas on the fire, I have a JTV-59 with a Roland pickup and a GP-10 going into a mixer along with my Helix. It's like playing two guitars at the same time, both with no latency and endless sound combinations. Playing guitar has never been more fun.
  28. 1 point
    Oh, compared to the Helix, that's easy!! Ya just find your self a car, now first of all, it should have come with a set of keys. Now not every key will fit in every lock. So you will to determine...........
  29. 1 point
    https://line6.com/legacy/pod POD 2.0 - not the original but perhaps useful?
  30. 1 point
    I cannot reproduce your problem at all... but I can clearly hear it in your audio examples. Do you set your guitars up very similar to each other? IMO, this sounds like the pickups are too high (close to the strings) and the magnetic pull is effecting the string vibration. The sound is likely always there... but with lots of gain it becomes more noticeable. When you begin to play above the 12th fret it becomes even more pronounced.... and is a common problem with magnetic pickups. The neck pickup will have more impact than the bridge pickup... try lowing just that one to start with, then just lower the bridge to match volumes.
  31. 1 point
    Yes. It highly depends. Ex; is $500 a lot of money or not a lot of money for you? What does your current sound sounds like? What do you like/dislike about it? What are you trying to improve? Do you for instance think that your BK 'marshall' sound doesn't sound right or something? I'd say the most important question is; how much do you like to tweak? If you want to spend endless time experimenting and tweaking your sound, I think you'll get more out of the Go than the Katana; from what I remember seeing about the Kat; it's more a plug and play device. The Go is more like an endless puzzle; where you'll plug in your guitar to play, and end up lost tweaking and testing different amps, reverbs, delays, etc. So how much do you want to get lost in effects or tweaking? I think the performance should be comparable; you'll be able to get good/great sounds from both. Think the Go does more out of the box (you can download extra Katana effects, but can only use a few at a time from what I recall), and the latest fancy reverbs like Glitz, Ganimede, etc., likely will not have a Boss equivalent. The amount of compressors, delays, amps, cabs, mics, etc., also way higher on GO. So if that's what you're after, likely won't be disappointed. I've heard enough people rave about the Katana to be fairly confident that you can get very good, usable sounds out of it. So if you have good lead, rhythm, etc., sounds dialed in with teh BK, and you make equivalent effects in PGO, I doubt most would be able to tell which is which in a blind test. They'll likely sound quite similar, and probably not have one sound 'better' than the other; just a bit different. I think you should be able to reproduce BK sounds in PGO with some work, but probably get lots more flexibility, 'tweakyness (tweaking the sound exactly like you want)' and options with Go. But, imho, main 2 things: 1) how much do you want more?, 2) are you more of a plug and play or a tweaker?
  32. 1 point
    How to Use the Mission SP1-L6H Toe Switch with Line6 Helix and HX Introduction Mission Engineering manufactures two expression pedals designed specifically for use with the Helix product line. The EP1-L6 is an expression only pedal and does not have a toe switch. It has one (TS) jack for Exp output. This pedal is designed to work with Helix Floor, LT, HX Stomp and HX Effects. The SP1-L6H is an expression pedal that includes a toe switch. This pedal is designed to work with Helix Rack only and has two separate output jacks. One (TS) jack for Exp output and one (TS) jack for the toe switch output. The toe switch is a SPDT (Single Pole Double Throw) momentary contact (commonly referred to as "non-latching") switch. This pedal is designed for exclusive use with Helix Rack. For HX Stomp - If the desire is to simply use the SP1-L6H toe switch as an external foot switch 4 or 5, no modifications to the SP1-L6H are required. It will perform that function right out of the box. There is no provision in Helix Floor, LT or HX Effects to use an external expression pedal toe switch as an additional controller or foot switch but with a mod we can utilize this functionality. Both pedals incorporate a 10K ohm pot for the expression output and both are built in the exact same enclosure/housing. The additional holes in the EP1-L6 have plugs installed in them. Purpose To modify either the EP1-L6 or the SP1-L6H so as to be able to utilize the toe switch output as an expression input to the Helix Floor, LT, HX Stomp or HX Effects. Use Case The idea of utilizing the toe switch came up when a user wanted to use the SP1-L6H as a traditional Wah pedal. Meaning the toe switch would simply toggle the Wah block in their Preset ON or OFF. With a little imagination there could be many more use cases. For example, the toe switch could toggle on a Delay block and then use the expression to control the Delay's Feedback parameter. Or the toe switch could be used to set any parameter on any block, completely independent of what the expression output is controlling. The Modifications This mod is easily performed on the EP1-L6 pedal also as the housings are the same. The holes are already drilled and have plugs in them. Notes on modifying the EP1-L6 (non-toe switch pedal) - As mentioned above, both pedals are built in the same enclosure. These modifications will require the addition of a (TS) output jack (along with the additional components listed below) if you are adding this feature to the EP1-L6 pedal. Also, you may need to add a felt or other pad under the treadle to engage the toe switch. For HX Stomp Only - If the desire is to simply use the SP1-L6H toe switch as an external foot switch 4 or 5, no modifications to the SP1-L6H are required. It will perform that function right out of the box. Parts Needed 1 -- Replacement Toe Switch as described below. The stock toe switch for a Crybaby Wah is a perfect replacement. 1 -- 100 ohm resistor. 1/4 watt is fine. The 100 ohm value is a suggestion. You can use whatever low value you have on hand. The Exp Input just needs to see something when the switch is off, or Helix will default back to the onboard Exp Pedal. Whatever value you end up with, you will need to adjust the "Bypass Assign" "Position" parameter to match that resistance value for the parameter being controlled to enable. For a 100 ohm resistor this will be about 25%. 1 -- 10K ohm resistor. 1/4 watt is fine. * The 10K resistor could be a pot or trim pot if a variable output is desired. This could be used for more granular control of the toe switch's expression input to the Helix/HX. * For the purpose of this article, the above resistor values will be used. For the SP1-L6H 1. Replace the stock toe switch with a SPDT (Single Pole Double Throw) maintained contact switch. Commonly referred to as "latching". The stock toe switch for a Crybaby Wah is a perfect replacement. 2. Solder one end of the 100 ohm resistor to the N.O. terminal of the new toe switch. 3. Solder one end of the 10K ohm resistor to the N.C. terminal of the new toe switch. 4. Solder the two loose ends of the resistors to the Red wire going to the output jack. 5. Solder the C (common) terminal of the new toe switch to the Black wire going to the output jack. DONE Setup For this example we will use the expression pedal with it's new toe switch functionality as a traditional Wah pedal. Pressing the toe switch once will turn the Wah block ON. Pressing the toe switch again will turn the Wah block OFF. For Helix, LT and HX Effects 1. Select the Wah Block in your Preset. 2. Select Main Menu 3. Select "Bypass Assign" 4. Set "Switch" to whichever Exp Input you are using for the Toe Switch. 5. Set "Position" to 25%. 6. SAVE SAVE 7. Select Main Menu 8. Select "Controller Assign" 9. Set "Parameter" to "Position". 10. Set "Controller" to the exp input you want to use for the Wah function. 11. SAVE SAVE DONE For HX Stomp 1. Select the Wah Block in your Preset. 1. Select Main Menu 2. Select "Bypass Assign" 3. Set "Switch" to the expression input you want to use for the toe switch input. 4. Set the Position parameter to 25%. 5. SAVE SAVE 6. Select Main Menu 7. Select "Controller Assign" 8. Set "Param" to "Psition". 9. Set "Controller" to the expression input you want to use for the Wah function. 10. SAVE SAVE DONE Go play guitar.
  33. 1 point
    If it's not shielded at the connector, then chances are it is tied at the cable to the Canon casing, and that would set up a chassis ground. That would be a typical AES standard for such a cable.
  34. 1 point
    If you have set your Stomp to receive MIDI clock signal from an external device, then I would expect it to ignore any other tap input. Imagine the chaos that could happen if the Stomp is slaved to an external clock, but the you accidentally hit the onboard Tap switch. This explains MIDI sync. https://www.sweetwater.com/insync/how-to-sync-midi-devices/ Hope this helps/makes sense.
  35. 1 point
    "If you nail together two things that have never been nailed together before, some schmuck will buy it from you" - George Carlin...;)
  36. 1 point
    Yes, exactly. This underscores everything I've already said... you're not hearing what they're hearing, period... and you never will if all you do is replicate whatever settings they're using on their end. Plus, everyone has a different definition of what "this sounds great" means, and there's no way anyone can possibly fathom what some guy in a video is hearing in the room he's standing in... all you can do is guess. Perception is very much an individual phenomenon. You might love a tone that I hate, or vice versa... but so what? Nobody's "right" or "wrong". There's a steep leaving curve with modelers. We all went through it. I would suggest watching some of Jason Sadites' Helix tutorials on YouTube. He goes through the reasoning behind the settings he chooses, but he's careful to emphasize that fixating on specific numbers is pointless. That's what you need... the how's and why's that various parameters do what they do, and ways to manipulate them to achieve a certain goal. Mimicking individual settings verbatim and expecting 1:1 continuity with a tone in a youtube video is a fantasy, and it will will get you nowhere. It won't sound the same to you no matter what you do, for all the reasons I've already laid out. You have to experiment and do it yourself. There's no way around the grunt work... and yes, it sucks. It's tedious and time consuming. But you only have to do it once. And no, there's nothing wrong with your guitar. Going out and buying something else wouldn't provide the secret sauce either... it would only introduce yet another variable. Spend some time learning the unit, and you'll get there. I didn't gig with my Helix for a solid 2 months after I got it, until I was super comfortable with everything... and I had already been using other modelers for years at that point. These aren't plug and play devices...
  37. 1 point
    About the last point: I have a strong physics background. So, i think that “natural” latency don’t play so much role because of reverberation and so on. It helps us to understand where is the source of the sound. But in headphones such latency will be a weird thing
  38. 1 point
    Following feedback above I've posted the following on The Gear Page: [USER=170322]@Frank Ritchotte[/USER] Hi Frank - Having posted very positively on the Line 6 Community page about your response/Line 6 support on the G10 firmware issue, there seems to be feedback that even with units replaced by Line 6, the battery life is no longer 8 hours but drops to 2.5/3hrs. From what I've picked up from reading about the firmware upgrade, it appears that to address the overheating issue the charging time has been reduced such that the charge the transmitter can now retain has been more than halved. I'd be grateful for your comments as to whether these reports are valid. Frank, if you haven't already seen this, you might want to have a read through this 5 page thread on the Line 6 Community, as clearly the latest update has caused some major problems and with so many others experiencing the same issue after updating the firmware, this cannot be a battery issue. If there was nothing wrong with the original firmware that I had, I'd really like the option to try rolling the firmware back and see if my original operating condition and battery life are restored. Is this something Line 6 could make possible? https://line6.com/support/topic/54620-g10-relay-update-issue/
  39. 1 point
    +1 I suggest there is some editing needed in this area of the TIPS section on page 29 in the HX LT v3.0 Owners Manual. Awhile back I read a topic here where someone brought our attention to the next paragraph in this section of the last manual: Powercab Plus users can also utilize the IR and Reverb options available on the Powercab, thereby alleviating the need to add IR or Reverb blocks within their Helix LT presets! As pointed out in the thread I referred to and as a Powercab+ user...there is no REVERB in the Powercab. So, whoever wrote the copy for this part of the manual messed up 2 points and it didn't get caught by proof readers and still hasn't been corrected by Line 6. Not a big deal IMHO.
  40. 1 point
    I wish I could agree with you. I have the Spider V 120, been using it for over 2 years. I know it's not a desk top amp, but there are so many ways line 6 could improve on this concept and they don't. The first and most important feature is Bluetooth, where is it? The fact that you have to run the Spider Remote app with a wire doesn't make it remote. Compatibility use with both Windows and Android make the app impossible to use for more than 10 minutes on a good day. there have been many communication back and forth between Line 6 support with out a resolution. Second firm ware updates where are they? they were quick to release the G10 relay update which in affect turned my relay into a dust collecting paper weight. If I get an hour out of a full charge I'm lucky. Good thing it came with my amp, because if I paid the MRSP I would request for my money back. I've seem many reviews of the Spark and the comparison videos too. Yes the Spark has a few new features that I don't have because the V 120 is not a desktop amp, but Line 6 dropped the ball on this line by not including Bluetooth.
  41. 1 point
    Just do a factory reset - hold down FS2 and FS3 while powering up. If you’ve not created any presets yet, you don’t need to do anything else.
  42. 1 point
    https://line6.com/support/page/kb/effects-controllers/helix/helix-tutorials-by-jason-sadites-r891/
  43. 1 point
    I saw your post while trying to fix a similar problem. This worked for me: After I installed all the latest upgrades to the drivers and the editor, I restarted the system then followed these steps. 1. Open System Preferences in OS X Catalina 2. Select "Security and Privacy" 3. Select the "General" tab 4. Look at the bottom for an alert about system software prevented from loading 5. Select to allow software from Line 6 6. Open POD HD500 Editor 7. Connect the POD to the USB Done! I hope this helps!
  44. 1 point
    Thank you Silverhead, your comments always make my mood go up.
  45. 1 point
    If you're trying to do it on the main unit, go to save it like you would any preset, but before you do the final press you can twist the knob to select a different save location. This effectively copies the preset.
  46. 1 point
    I'm gonna say the same thing here I said with the HD series. If you're going to advertise that it does 6 effects, it better do six effects or its gonna look like somebody lollipoped up.
  47. 1 point
    The problem is that when I try to mount (or open) this Gearbox 3.72.dmg it says "Image not recognized". So like what? :O I just downloaded it from Line6:s page.
  48. 1 point
    The solution is easy and doesn't require any additional computer, you can solve it directly in you own: Step 1: Mount your dmg file double clicking on it. Step 2: Open the mounted file (as shown in 1 in the pic), then right click on the file GearBox.mpkg (as shown in 2 in the pic) Step 3: Click in the option "Show the content of the file" (or something similar in english, my computer is in polish :) ) Step 4: You will see a folder called "Contents" ( red 1 in the pic), inside it some file and among them the folder "Packages", open it, then you will see the installator files, double click on GearBox.pkg (red 2 in the pic) and voilá! you can install the program in your brand new mac. Good luck and keep playing!
  49. 1 point
  50. 1 point
    Anyone? Had been nice to know what to do..:-)
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