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Showing content with the highest reputation since 09/10/2021 in Posts

  1. 3 points
    Hi - a brave move! Depending on what it is you get form a big amp, you probably need to be thinking about how you will be hearing the Helix. Be aware, there is a big difference between hearing a good Marshall sim at conversation level and at 100db! Also check out the Fletcher Munson effect - your tone that sounds great at low level is all boom and harsh highs at high levels. So be sure you can monitor at a level you can relate too - or use different variants of the same tone for quiet and band level situations. So just be aware in general that you need to expect to deal with stuff that a sound guy/engineer would normally be doing as you are now controlling a simulation of an amp and a speaker cab mic'd with a certain mic. None of this means you will be worse off in any way. I don't miss the amp in the room at all because I'm hearing studio quality guitar sounds. At stage level, I can still play the feedback etc - obviously a bit less so at home level. Expect to need to adjust this totally HiFi device to be limited to a guitar amp frequency where it's needed - so you might want pristine delays requiring a bit more frequency range, but you want a cab sound that is not harsh - and that means high and low cuts at a minimum - very possibly a full EQ just after/before your cab. The short message here is any distortion sounds really bad if you have a pile of high frequencies - and guitar amps and speakers have very limited frequency response - and our ears like exactly that! You will have lots of experience of pedals. If you have your amp sim set up well, the pedals do exactly what you expect. If they don't (you hear all the time - I added a fuzz and it sounds terrible - that is a clear indication of the amp not set up well (or you just hate fuzz!!). So My advice is not to get too involved with the presets that come with the Helix - use them for a reference by all means - but if you learn to use the unit, you will never use them for anything more. Start at the basics - start with an amp and a cab you know how it should sound. Learn to make it sound like it should. When you get that the rest is just pedals you mostly know anyhow. You might have to figure out the "wiring" sometimes - so definitely learn how to use the full set of paths in the Helix - but if you can take an amp that's sounding good - you are 90% done. Learn to backup! You can take any risk you like if you know you can always go back! Snapshots are great - but I've found trying to have a preset for every song is a bit extreme and leaves you a bit tied up when you need/want to improvise. Generally think in rigs - so I have 2 Marshall rigs (presets) - with 8 snapshots each - that covers every case of a Marshall sound I need - there are flangers and chorus, delay and reverb settings within that that do 15 songs. I have 2 Fenderish rigs for clean and tube screamer driven sounds with a batch of pedals again - does all the clean to driven stuff except....... The Vox rigs - that do cleanish jangle to driven Vox sounds. Then I have a few others that are for songs that need something more specific or unique. Done! Not that I actually use a Vox for both presets - it's just that sonic territory. Same goes for Marshalls - Friedman might be one of your Marshalls and if you are a Marshall man, you might need an extra Marshall based rig or 2.......... My point is you may well be able to keep this down to 8 rigs - which means you can get to rig with an absolute minimum of tap dancing. Worth thinking about? 2 pages of presets absolute tops I recon! Anyhow, be patient - expect it to take a little time. There will be some frustration.......Youtube videos will help a lot - but by time you have a handle on this thing you will find you disagree as often as you agree with them. They aren't gods - some of them are just a month ahead of you! When you know what you are doing, you won't use the marketplace - I bet. (except maybe IRs) You've got all that experience of the real world and it does translate - when you know what you are doing. So like I said - start with an amp and cab - if you can get an amp and a cab sounding good - especially one that's just lightly driven - you will be on your way.
  2. 3 points
    Given that I work for a company that does software for police agencies, I thought I would add my 2 cents... When property is stolen, and you have a valid serial number for it, you should report this to your local police agency. MANY agencies will actually allow you to self report this type of crime and list the details of your stolen property. The more detail you can provide, the better the chances are of recovering it. They don't have to send an officer out to take the report and you can do it at your own leisure in the comfort of your own home. The police agency is then required to verify the report, and if there is any property with a serial number on it, they are to add it to the NCIC database which is national in scope. Any agency within the US can then search this database, using the serial number, to verify if it is indeed registered as stolen. If you don't have a serial number, it won't go anywhere other than the local PD. Your chances of getting your property back are pretty much nil. But you need the report for insurance purposes. So... how I can see that this could work is... Line 6 notifies the owner that their stolen property has turned up somewhere. The owner can then notify their local PD that their stolen item has turned up somewhere (if they have previously reported it). That agency can easily verify NCIC that the item has been reported stolen and is on file. They can easily contact the local agency where the item appears to have been located with any information on who appears to have it. It is now up to that agency to attempt to locate the item. It certainly will be a low priority item for that agency, but they are required to attempt to locate the item. Typically, when patrol has some down time, they can poke around. Their goal is to get the property back to the owner. If they DO manage to locate the item, the person in possession of it can only be charged with possession of a stolen item at the most. This might end up being a citation depending on the history of the person. They can't prove that they stole the item, and they certainly won't "investigate" it. Depending on the story the possessor gives, they might just seize the item and walk away. The PD can then notify the local PD of the recovery. How the item then gets back to the original owner is outside of my knowledge. I think it's up to the owner to make those arrangements. Random audits are performed at each agency for them to validate that the NCIC record is still valid. This applies to Stolen Vehicles, Missing persons, and Stolen Property. The agency must contact the reporting person to see if the status of the record is still accurate. The more common way stolen property ends up being recovered though is purely by accident. Someone gets arrested for some crime (typically drug possession), and they happen to have a lot of "questionable" property on/with them. The cops can easily check the serial numbers against NCIC to see if it has been reported as stolen. This, I can tell you, is VERY common practice. Our mobile software that is in the police cars has the required form to do this, and they do it all the time. If any of the property is stolen, it's an additional charge that they add, and help someone get their property back. So it happens more than you think but... you HAVE to report it to your local PD. They definitely won't investigate it to try to find out who stole it, unless it's a massive theft, but there are tools in place that can help you get your property back. I know the same process exists in Canada as well. Can't speak beyond those two countries though. I just had a meeting with a local PD yesterday afternoon where this was one of the topics of discussion. They are very conscious of reporting stolen/serialized property to NCIC. So... document the details and serial numbers of ALL of your musical gear that you might want to have the slim chance of getting it back if stolen. You might need it some day.
  3. 2 points
    "Marketed" being the operative term here... Brochures say lots of things. Mostly they say whatever the advertising department thinks will make a particular demographic most likely to part with their money... and it's nearly always bull$hit. You can make just about anything sound fancy and suited to a particular task if you do it right. Just ask the army...They refer to a nut... as in the things that screws go into... as a "hexa-form rotatable surface compression unit". You do the math, lol...
  4. 1 point
    Hi I was going to say you can only use one device for input and output (like you have) and that you would need to be able to use your other USB devices explicitly as the output devices for Cubase to make this work. However a quick search suggests using ASIO4all as the driver will allow this. https://forums.steinberg.net/t/using-two-audio-devices-one-for-input-one-for-output/642426/4 I'd much prefer to stick with OEM drivers, but that won't work in this use case. Good luck
  5. 1 point
    My method for noise gate adjustment is simple. With everything connected but playing nothing, turn the threshold up on the noise gate until the hiss goes away. Adjust the other parameters to taste. This is assuming you are using the gate that is always there in the Helix at the input or adding a noise gate block at the beginning of the chain.
  6. 1 point
    Since you say that this is happening on all presets and in all circumstances, I'm going to suggest that you do a back-up, then perform a factory reset. I had this problem once, and that cured it.
  7. 1 point
  8. 1 point
  9. 1 point
    Do you have a noise gate somewhere in the chain and/or in the main input settings?
  10. 1 point
    https://line6.com/support/manuals/variax500/
  11. 1 point
    I can see the unit being something easily obsessed over. I learned while working for big hitters that sitting in a certain frequency pocket is where I need to be more so than worrying over tone so much. At this point I need some good clean and overdriven sounds that are more accessories to good tunes as opposed to guitar hero stuff. What I'm excited about is finding a few good amps and some effects for certain parts of tunes. I know this is going to be a learning experience for me shifting completely away from amps but it's time for sure. I was signed to sony with back in 03 in my group... If you guys are interested in the broad spectrum of my journey I will post some links. The video was a couple of years ago, but the tune on soundclick was from like 2003.. My son is now just singing and is 17 and were doing more alternative now since his style has changed and that is right up my alley... Honestly though, I'm looking for just some good round clean and rock sounds at this point. thanks everyone for your help! This was the band that was signed and toured everywhere.. https://soundclick.com/r/s74rfo This is the band I put together before covid hit- My son was 14 and an incredible talented singer. I'ts more of a screamo type band, but I'm a versatile writer.
  12. 1 point
    This is a 2 1/2 year old thread with no responses, and the OP hasn't logged in since the day he posted it... don't hold your breath for a reply. I suggest opening a service ticket...
  13. 1 point
    Hi Me again With respect to others who have given advice - we are all different in our needs. You have not indicated a particular genre nor a fixation on a particular artists sound. That bodes well for your mental health ;-) I do not recommend downloading other peoples patches YET. Warning - the advice below will be rubbished by lots of people. First listen through to the basic amp factory presets - not the song or artist ones. Every single one of these should be usable as they are. maybe not perfect or exactly the tone of groupie rubbed grill cloth dipped in nicotine that you think a particular speaker cabinet might be.....but usable. If these are not there is some issue with your monitoring. If so get that sorted. Assuming that all goes fine, start with a empty patch and pick one amp that is vaguely close to something you might be familiar with...same with a cab....play around with the amp tone controls for a while....maybe an hour or so as you acclimatise to the tone....Maybe try one or two variations on cabinet....and one or two variations on mics. the STOP. Go to bed, watch a movie, go for a run. Repeat, repeat. After a few sessions try adding your favourite effect - for most this may be a drive. Start with something obvious. Same with some ambiance - a plate or spring reverb. then learn to switch to stomp mode and assign stomp switches. Then learn to save patches... then learn to set up snapshots... By thus time I am assuming you have done 20 plus hours on a few basic settings. Then try something more ambitious. If you really must try to copy another artists tone, start by researching the gear they used and set up a close match in Helix.....and spend a few hours playing with that. only now ...say 50 hours in would I consider there may be some value in considering downloading someone elses patches to see how they have created tones. - the point is that by now you will have enough basic familiarity to be able to analyse their patch and understand why it sounds the way it does. Full disclosure...I have never downloaded another persons patch - probably never will. I cannot imagine any value in getting into IRs in the first 100 hours of Helix (unless you are an experienced studio engineer). If moving a tone control on your amp a millimeter is audible to you then by all means try some IRs. In my third year of Helix I tried a few....Ive stopped using them....(btw Im an experienced engineer) I use a powercab and the built in speaker models. My last advice to to try to limit the number of patches you have. If you are in a tribute band then a patch per song makes sense. If not then less is probably smart. I have settled on 5 Rhythm patches and 5 Solo patches set up in 1 path with patch spillover activated. and in 10 stomp mode with 10 patches always available.......and I havent felt a need to change these for months.
  14. 1 point
    From the manual (as of firmware v3.0): “For path Input and Output blocks - These blocks display with a green fill to indicate a signal is present and a red fill if the signal is too hot. If clipping is indicated you should reduce the signal level before and/or at the red indicated Input/Output block.”
  15. 1 point
    These forums aren’t support forums, so people shouldn’t assume that someone from Line 6 is seeing their posts. Opening a support ticket is the best way to get in touch with them. If you were doing the update via Bluetooth, your best bet is try to update again using Line 6 Updater on a PC or Mac.
  16. 1 point
    just wanted to say.... what a great post!
  17. 1 point
    An old wah hint. Set the mix parameter to around 75% for all of them.
  18. 1 point
    Helix isn't a USB Host, so it can't be done.
  19. 1 point
    Hello! I have built a power box for Variax 300 using cbillow solution and it works fine. I use it to power a guitar via TRS cable. You can use any voltage boost board. I have not found exactly the same as used cbrillow, so I ordered an LTC1871 step-up board. Its dimensions are exactly 67x44 mm. I have attached a photo. I also have seen a board built on XL6009, I think it will work fine too. You can just search for "dc-dc step up" and any will be okay if it boosts the voltage. They come in a variety of sizes including models without a screen (it's usually smaller). I use a 2A smartphone charger, it works fine. So 2.1A DC will be okay.
  20. 1 point
    I was going to suggest a Gretsch for many of George's sounds... but I agree fully, the guitar choice is very important and a typical Strat or Les Paul will not be as convincing.
  21. 1 point
    You should hear no difference in sound between the 2 sample-rate settings - from what an online search shows, the difference in sound could be from input gain differences. When running PodFarm as a plug-in the sample rate is controlled by the DAW; when running as stand-alone the sample rate is controlled by the AI settings. I think PodFarm only runs at 44.1/48, and internally converts if a higher sample rate is used.
  22. 1 point
    It certainly does if you read, study, and follow the information given in the release notes in the link which I posted earlier above. Especially the section which states: Anything else I should know? Yes. We STRONGLY recommend performing a factory reset AFTER UPDATING your Helix/HX firmware to 3.11 and THEN RESTORING YOUR BACKUP. (Backing up is part of the update process). Here's how to perform a factory reset. IMPORTANT: MAKE SURE YOU HAVE A BACKUP FIRST, AS A FACTORY RESET WILL ERASE ALL YOUR WORK! Helix Floor/LT: While holding footswitches 9 & 10 (bottom row, 2 middle switches), turn on Helix Floor/LT Helix Rack: While holding knobs 5 & 6 (2 furthest right knobs below the screen), turn on Helix Rack HX Effects: While holding footswitches 6 & TAP (2 farthest right switches on the bottom row), turn on HX Effects HX Stomp: While holding footswitches 2 & 3, turn on HX Stomp HX Stomp XL: While holding footswitches C & D, turn on HX Stomp Hope this helps/makes sense.
  23. 1 point
    Hi Dan, That’s just the way it works, it’s more of a sketch pad for ideas. If you really need to store loops for later playback you need an external looper unit with that capability. I own 3 different models of looper for exactly that purpose, depending on what I want to achieve in a given situation. That’s why Helix has the facility to use Send/Return and FX loops built in. Simply patch in you specialist looper of choice. For example: BOSS RC-30 Loop Station has 99 memory slots. Ditto X4 can store loops and backing tracks using a computer. Ammoon Stereo Looper - ultra cheap looper capable of storing 10 Loops up to 10minutes in length There are just a few options. Hope this helps/makes sense.
  24. 1 point
    What kind of pickups? Check your cables. Make sure you're connected to a Power Strip with EMI/RFI filters. Make sure you're not on the same house circuit as major appliances, fluorescents or rheostats. Make sure you're at least 10 ft from routers, computers, or active wireless devices such as cell phones. After checking all that, attach an example of an especially troublesome preset so we can see what else might be happening.
  25. 1 point
    If you search Beatles in customtone there's a bunch of pacthes you could use as a starting point. https://line6.com/customtone/search/?submitted=1&family=helix&search_term=beatles
  26. 1 point
    Short answer: Yes. Manual Page 9 - Quick Start - Hooking it all up - HX Stomp in 4-Cable Method What you're doing with the Mooer is called "4 cable method (4cm)". Just replace the MOOER in that configuration with the HXS and add an FX Loop Block between Pre FX (like distortions) and Post FX (like delays). When you're using an HXS amp, the FX Loop Block is OFF (signal goes straight to the amp's RETURN), when using your amp's preamp the HXS amp is OFF and the FX Loop Block is ON (signal passes through the amp's preamp before returning to HXS). If you want to continue to also use the MOOER, put it in the other FX Loop. Be aware that if you do that, you've already used two of the 8 available Blocks, the additional Preamp could be noisy, there could be ground loops, and you'd need to use one of the three available Snapshots to determine which FX Loop (or none) is ON (vs using a Stomp or external FS with only one loop).
  27. 1 point
    Be sure to experiment with impedance. I was super disappointed with the unit until I started messing with that
  28. 1 point
    Hi, Read, study, and follow the information given in the release notes in this link and it should be a trouble free experience. As you are coming from a “tube amp purist” background, please be aware that you will not be getting the trouser flapping effect of standing in front of a smoking Marshall stack on stage. It is more like listening to a fully produced guitar tone while sitting in the control room of a really well equipped recording studio. Prepare to be amazed and remember “All Presets Suck” (quote from Digital Igloo - Eric Klein, Chief Product Design Architect, YGG/Line6/Ampeg). Prepare to create your own for the best possible result. Hope this helps/makes sense.
  29. 1 point
    And if HX edit cause a boot failure to update your Helix, Launch Line 6 updater it will do it.
  30. 1 point
    You can also separate the Paths with a split after your last effect, put the Cab/IR in the lower (B) path, then pull down the mixer block to create two output blocks. You use Path A for the typical 4cm - Main L/MONO Out to amp, Path B Output block set to XLR for FOH. The advantage of the first method is that you still have the split available for running parallel effects. This forum only allows a very small space for storing images, and I'm currently full. That's why no screenshot. Just try it. Takes 2 minutes to set up.
  31. 1 point
    After your last effect, place a SEND Block and use that SEND for your amp return instead of the MAIN L/MONO OUT. Place your cab/IR Block after the SEND, and set the main Path Output Block to XLR. That goes to FOH. So, the end of your signal chain is LAST EFFECT>Send Block (to amp return)>CAB/IR> Output Block set to XLR (to FOH). I'm out of storage space and don't have any pictures I want to delete, or I'd include a screenshot.
  32. 1 point
    Sorry for the false alarm... I figured out a solution! I used the Line 6 Updater, but I had to force it to install because Big Sur said "it couldn't scan for malicious content". After forcing the software in, I reboot the Helix with foot switches 6 & 12. (Force Reboot, I think. It's the one that gives nothing but a blank screen) Then Updater could do its thing! Back up and running. (HX Edit is now working better too) I hope this helps someone else at some point... Have a great day!
  33. 1 point
    Here's the bottom line difference between choosing a FRFR style powered speaker or something like a powercab. For most people the powercab provides a more traditional on stage amp experience whereas any FRFR style powered speaker provides more of an audience experience through the PA. Those are really the bottom line differences so it really depends on what your needs are. In my case 90% of my usage is on a live stage and it's important to me to hear what my audience will be hearing when I'm dialing in presets because my entire band all goes direct to the PA without any on stage amps so I don't even own any real amps or cabinets. I only own FRFR style powered speakers other than the studio monitors I use in my studio. I will tell you that getting a good representation of how your presets will sound in a live environment will be just as expensive as the powercab. There's a very good reason why the Headrush 108 is cheaper...it's missing some importnant stuff that you'll find in the more premium level speakers like EV, JBL, Yamaha and QSC. That may not be important to you, but if it's an accurate representation it will be more expensive because, like anything in life, you get what you pay for.
  34. 1 point
    The Powercabs let you use Helix cabs or IRs (FRFR) and the coaxial speaker design sounds different from the separate HF/LF drivers of most other FRFR cabs. You can use the custom speaker emulations or the raw speaker without the HF driver (like a regular 1-12 cab). That said, stereo is VERY cool. I have a PC212+ and like it a lot. However, either the PC212+ or a pair of PC112+ are expensive, vs a pair of FRFR108 or FRFR112, and despite what some will say, sound just fine. I have a FRFR112 that I use for bass. The issues of long-term dependability/road-worthiness/DSP configurability are the main reasons why you might want to consider the much more expensive Yamaha or QSC offerings over the Headrush cabs Another possibility is one or more traditional 112 or 212 cabs with the new Celestion FRFR speakers. (5) Celestion's F12-X200 + F12M-150 Full Range Live Response Speakers - finding the right rig for YOU! - YouTube
  35. 1 point
    Are you using L6 Link? do you have a second AES cable run from PC1 to PC2?
  36. 1 point
    I can't provide a comparison between the units mentioned. I use 2xPC+ for full end-to-end integration, and like the sound. I have preiously used wedges which my band, and I, found a bit to 'clinical' or hi-fi. FRFR is a marketing term describing a class of product, it will not tell you how they sound and they all colour the sound in some way.
  37. 1 point
    In the Volume pedal block the "curve" setting can be set to Linear (default) or Logarithmic. Change that to Logarithmic and it will behave more like a real volume pedal does... providing a more gradual volume throw. (NOTE: This is in the VOLUME PEDAL block you add to a preset, not the EXP adjustments in global settings)
  38. 1 point
    Follow the installation instructions: Begin by downloading and installing the HX Edit installation package. If you are using Line 6 Updater directly you are not following the instructions. If update issues persist please come back here with further details.
  39. 1 point
    I've done the dance with Line 6 products for a decade, and the pattern is that they are mostly a Microsoft shop. If you're on the Mac platform, you're not of great concern to this company. The whole world KNEW mac OS Big Sur was coming. Same thing with Catalina. Developers were seeded with the tools they needed. Line 6 could have supported BIg Sur on the day Big Sur came out. They chose not to do so. Line 6 apparently just doesn't care to get on the ball for this "minority." If you're on the Mac platform, give serious consideration before investing any more resources into Line 6. They want you to buy tings for the holidays, but beware -- if you're using a Mac, you're last in line to get your software updated and compatible with the products you purchased. Not sure why they're so cavalier about it, but on September 11, 2020, they posted a notice indicating they would be working on making their products compatible. This is being written on December 4, 2020, and still no work and no progress And if you're waiting for Pod Farm 2 to be "fixed" so it displays in a full-screen manner forget it. Not gonna happen, according to Line 6. Nice. I got my mponey's worth, but there are people who are going to buy things for this Christmas, and they are going to be very upset. Totally avoidable, Line 6, but you lost your way. Be advised.
  40. 1 point
    Hi, Watch this: For info on the Command Centre check out the HX Effects 3.0 Owner's Manual - Rev C - English Page 41 - 44 https://line6.com/data/6/0a020a411710a6112a67116f0b/application/pdf/HX Effects 3.0 Owner's Manual - Rev C - English .pdf Hope this helps/makes sense.
  41. 1 point
    There are BASS AMPS and BASS EFFECTS already available in the Helix The effects are all lumped together, not in separate sub categories. You need to know which specific effects were made for BASS (the manual/model list will tell you) BASS AMPS are in a separate sub category Choose Amps or Preamps or Amp/Cabs Then Choose "Bass" The models will appear Keep in mind you are not limited to the Bass Amps and Bass effects.... you can use anything you want.
  42. 1 point
    That video is about fixing/cleaning the expression pedal assembly, not the footswitches. IMO, I think the video is completely irrelevant to what you are describing. The footswitches are just actuators (the switches are mounted under them) but I don't have a recommendation for cleaning or lubricating them.
  43. 1 point
    There's two separate issues here. When you use a long cable, the impedance of the cable attenuates the high frequencies, and a buffer restores those frequencies to compensate. If the Input impedance of the buffer is 1M, then that's the way the pickups are "loaded", just like going direct into an amp's input, because the Input impedance of most modern amps is 1M. Because part of the tonal character of certain old pedals, mostly fuzzes and overdrives (facial fuzz, scream 808 for example), were less than 1M, putting them between the guitar and the amp input loaded the pickups differently, and that was part of their character. The Helix Guitar input has an analog circuit that allows the pickups to be loaded as though you had an actual analog pedal instead of the "virtual" Helix effect, if you set the Global setting to "First Active" and leave the preset set at AUTO. You need to be sure that the target effect is not after an active effect with a different impedance in order for this to work properly. But if a buffer with 1M input impedance (or any other real world effect with 1M impedance) is between the guitar and Helix , it defeats the purpose of that circuit. This is also true if you use a wireless, as the wireless loads the pickups at 1M. So, if you use any of the "classic" fuzzes and whatnot that are in Helix (and I THINK some of the older model amps), and want the "classic" tone of those pedals/amps, you don't want to use a long cable, which increases the attenuation effect, or a buffer with 1M input impedance, or a wireless. If you must use a long cable with a buffer or a wireless, your best bet is to not use the "classic" pedals/amps (unless you just like the way they sound despite the lack of pickup loading effect). If you use the virtual pedals that had 1M impedance ITRW, it doesn't matter how you connect the guitar. But yeah, with a long cable you want to use a buffer to make up for the cable impedance. Lastly, the analog impedance circuit is ONLY on the guitar input. The RETURNS are 1M. NOTE: the above explanation is probably over-simplified, and someone better at explaining it might jump in to clarify. There's a list of the impedances of the various Helix effects, which I've posted previously (Helix 2.90 Amp, Effects List - Helix - Line 6 Community). The Excel file is in my first post in that thread. There's a possibility that some of the info could be wrong, as some of those classic pedals had different input impedances in different iterations, and there's no real way to know exactly which ones L6 modeled. Also, it's from v2.90. There may be an updated version somewhere for the effects added since v2.90. Hope this long-winded explanation helps.
  44. 1 point
    The Sony MDR-7506 (same as the MDR-V6) are foldable and work great with the HX Stomp (as well as many other sources). They have been an industry standard in the Film, TV and Recording industries for decades. The BeyerDynamic 990 Premium are also foldable. However, as they are 600 ohm, they may not be the best impedance match for the HX Stomp's headphone output! Try before you buy if you can. Otherwise, buy from a vendor with a satisfaction return guarantee.
  45. 1 point
  46. 1 point
    As promised... How I set up controlling snapshot changes etc in Helix native using Reaper and a midi foot switch. This relates specifically to Line 6 FBV Express MK11 but would be applicable to other Midi devices. helix native midi control in reaper.pdf
  47. 1 point
    a mi no me aparece esa opcion porfa necesito ayuda mi correo es ervinlopez06@hotmail.com
  48. 0 points
    So, HX Edit 2.92 will not open and all the patches on my Helix Rack mount disappeared. The solution I found to this, is to uninstall HX Edit 2.92 and reinstall it. While booting up Helix make sure there are no SD cards/USB Drives/Other Interfaces/Unnecessary external devices plugged into your computer, as for whatever reason Helix will try to pull information from it like it's Drive: C on your computer and will not load correctly on the Unit or HX Edit 2.92. This is very bizarre and I've read the forums, this is the only fix I found and am not sure what else can be done. I heard the programmers are aware of this issue I'm not sure if it's a Windows 10 problem, an internal battery was almost dead and went buggy from not being turn on in over 2 weeks or if it is a software issue but I'm just curious if anyone knows anything about the new patch update and when it will possibly be released?
  49. -1 points
    From what I know about the Line 6 folks, most of them are using Macs. I think it's just that Apple has made it more challenging than Microsoft for third party developers to keep up with things over the last few years. It's ironic, because Apple's reputation is that they're always associated with the creative industries, but Apples seems to make life hard for companies. You'll find many, if not most, of the other companies making plug-ins and whatnot are in the same boat as Line 6 as far as catching up with Big Sur. It seems like many of them just got caught up to Catalina not that long ago. Seriously, who needs a major OS update every year, anyway?
  50. -1 points
    Line 6 will eventually support it, just like all the other audio companies will. But, yes, Apple acts in a monopolistic manner and simply expects other companies to comply, and companies have to comply, because, well, they have to. But there’s no reason that an operating system needs a major, disruptive overhaul every 18 months or whatever it is. It’s ridiculous. Is Pro Tools not Mac friendly? It’s not been updated work with Big Sur yet either. There are a bunch of other audio companies that are in the same boat. This stuff just doesn’t happen automatically. It takes time and resources, and none of these MI companies are really all that large. Being forced to constantly update because of Apple’s whims is a major PITA, I’m sure.
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