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  1. - Quit HX Edit! Don't start it again until you're finished with everything following. - Go here and download the Line 6 Updater (in case it's not installed on your machine already): https://line6.com/software/ - Also download the "Flash Memory" from there (it's the actual update). - Install the updater. - Reboot the Helix while holding down switches 6 and 12 (this will take you to safe boot mode). - Start the Line 6 Updater, select "Offline Mode" and see whether it finds your Helix. - If yes, select it and choose "local file". Point it to the Flash Memory file you've downloaded.
    30 points
  2. FIrst of all, I'd like to say thank you to everyone here that is helpful in their responses, but also those that ask questions that also prompt myself (and others) to approach things differently and explore a bit to educate yourself about rigs/blocks/effects etc. Big shout out to those who post video tutorials (Jason Sadites to name a primary one for myself, and others who just escape me at the moment). Those tutorials have helped me think about things and approach things without a guitar in my hand and allowed me to really do some neat things. Why all these words? My Stone Temple Pilots band had our first headlining show this past weekend. While the venue was, a'hem, not the grandest.....the crowd was into our setlist (after another band opened for 2 hours). All that is great....but my real satisfaction comes from programming my Helix and being happy with it, but also being efficient and well prepared for sound guys as we do not run our own sound and I dont like to let that control go away easily. HOWEVER.... While we performed great.....at the end while tearing down, I asked the sound guy (who I had already qualified as a great guy, knowledgeable, geeky like me with gear, and an overworker in his field compared to others) how my guitar sounded...and he said it sounded great. I asked what he did to help me get in the mix to file that information away when I make my next adjustments...and his response, "Dude, I didn't have to touch your guitar. I ran your guitar flat. Thats the first time I've ever run a guitar players rig flat. Anyone that has to EQ your guitar in a mix, needs to retune their PA!" I immediately put my arms in the air, and with a fist pump added a 'F*ck yeah'!! I then asked how my lead boosts were, and he said they were great. He literally had to do nothing to my guitar all night. I've never felt such satisfaction from a group of 25 presets in my playing life. 30 years, 16 of that is running direct (Boss, Line 6, Fractal). Just wanted to share as it was 2 days ago and I'm still proud of those comments. Edit: Oh, and yes....for those that say the stock cabs aren't good enough. Maybe in a studio realm they lack something a special IR does have. But my presets in this set all used 2 stock cabs in parallel.
    10 points
  3. The article is called Understanding Helix Amp Parameters, and it's posted on inSync. The article also explains ways to hear how changing parameters changes the sound - for example, how to use the 4 OSC Generator to hear how changing Bias affects the distortion characteristics. Another part tells how to hear sag in isolation so you can compare the sag of different amps easily. I hope you find the info useful!
    10 points
  4. FWIW...I'm writing an eBook called "The Big Book of Helix Tips and Tricks" for Sweetwater Publishing. It includes pretty deep descriptions of the parameters for the more complex effects, and I've also done a lot of testing - for example, there's a frequency response graph for the three different tape speeds in Retro Reel. I've been working on the eBook for months, but I hope to get it published either end of October or early November. If nothing else, I needed to figure out what the parameters did for myself!! I think Helix is awesome, but felt I needed to know more in order to take full advantage of it.
    9 points
  5. Hello everyone, I just released an update to Helix Help, https://helixhelp.com, to match the 3.15 release. This includes all of the new models, release notes, and other information. Along with this release many of the models have been updated with better descriptions and some bugs have been squashed. I am currently working on some clean up/including some additional information. I hope you all enjoy firmware 3.15! It's a doozy! Jason
    8 points
  6. So you ordered a Floor and got a Stomp delivered?
    7 points
  7. FWIW regarding value-for-cost, the reason why it's an 320-page eBook and 230 presets/favorites package was because I felt that if someone never read the book but only used the presets, or only read the book and never used the presets, they'd still figure it was worth $19.95. Even beginners can load and enjoy presets, although I believe the "holy grail" is knowing enough to modify presets for a person's individual needs...hence the book. Some people thought it was a mistake to do a package that combined a book and presets, and that they should have been two separate products for $19.95 each. But, I felt including the presets added value to the book, because people could read about techniques, load presets to hear the techniques, and learn enough to modify the presets if they wanted to put their own spin on things. It seemed like a good idea at the time, but in retrospect I think the book has taken attention away from the presets. Although some of them are designed specifically to complement material in the book, many of them are intended to work as stand-alone presets.
    7 points
  8. Let me start with the amp.... I've owned two Hiwatts over my career... and the Helix NAILS IT, but not with the default settings. . Crank the master setting in the amp up to 10. Raise the mids to about 9 Raise the DRIVE to about 5-8 for humbuckers, 7 - 10 for singles coils. Adjust to dirt level tastes. Leave the other "amp" settings. Now the cabinet The internal 4x12 Fane Who Watt cab is great... it's the default MIC that is not! Change the mic setting to a ribbon.... I use the 121, but all the ribbons are great. Set the distance to 5" Set the early reflections to about 50% Too me.... that's a Hiwatt Tone I am very used to and is extremely dynamic to touch and guitar volume. A bit of grit, but not too much. Of course.... adjust to your tastes.
    7 points
  9. That behaviour means there are one or more corrupt presets on your Helix. You’ll need some very high level math to track it down. ;-) When you start the Helix and the presets start rebuilding you will see the display showing you the preset number(s) as they are being rebuilt. The total number of presets in the device is 8x128 = 1024. The preset numbering starts at 0 (Setlist 1, Bank 1, Preset A) and goes to 1023 (Setlist 8, Bank 32, Preset D). Any preset that is still being rebuilt is corrupt. So take note of the preset numbers being rebuilt and do the math to identify the specific presets that are corrupt. Use HX Edit to overwrite the corrupt presets with New Preset (after exporting the corrupt presets to a designated folder if you wish). Repeat this until the Helix starts up without having to rebuild any presets. Then, if you want, you can import the corrupt presets one at a time and recreate them manually from scratch. Overwrite them again before shutting down the Helix device. Another approach might be to make copies of each setlist using HX edit. Then do a factory reset and start importing the setlists one at a time. Restart the Helix twice after importing each setlist. The first restart may rebuild the presets if necessary: this is normal. However, if presets are rebuilt on the second startup that means there are corrupt presets in the setlist. Again, do the math and proceed as described above if you want to recover any of those presets.
    6 points
  10. Stay with me, because this one is a bit of a curve ball...but if you want a Marshall sound, I'd start with one of the Marshall amp models. ;)
    6 points
  11. This is my test. I would like to know which is your favorite. Cheers! https://youtu.be/JD1hufvQxUU
    6 points
  12. classic "bedroom" issue. You tweaked by yourself in cans and now you don't cut thru....99.9999999993% of the time, the player has way too much gain AND not enough mid....A full tone that works by yourself generally does not work in ensemble....
    6 points
  13. I sympathize with your plight, but while the shortcut you're looking for has been begged for a thousand times over, it doesn't exist. The problem is not the headphones, and switching to a different pair will not help you. No pair of headphones will ever sound the same as an FRFR speaker blaring away at stage volume, at a listening position way off-axis, at some significant distance from your ears. These are night and day scenarios. So in a nutshell, you have two problems: Different output devices, coupled with a significant difference in volume. Unless you're insane or already deaf, your stage volume will be considerably louder than whatever you're pumping through your cans. The perceived loudness of different frequencies varies significantly with volume... it's a limitation of human perception, and there's nothing you can do about it...we're all in the same boat. (Google the Fletcher-Munson curve if you're bored, and you can read all about it). You have EQ-ing to do. Period. You can't "gear" your way out of this with a pair of magic bullet headphones. Patches must be dialed in for their specific intended use. This means at or very close to the volume at which they will be used, and at the very least monitored through the same type of output device(s). If you don't want to waste the rest of the band's time at rehearsal, book the room for an hour before everybody else gets there and tweak away... I've done it before, and you should be able to get reasonably close to what you want, with some minor adjustments being inevitable once you're in the mix... that's what the global EQ is for, not the wholesale transformation of multiple patches from one usage scenario to another. However you choose to go about it, dialing everything in at volume is unavoidable. End of story. If you want to minimize aggravation going forward, I suggest keeping different set lists containing the same patches, pre-tweaked for different uses... headphones, studio monitors, live, etc etc...I've done it for years, and it works. Otherwise you'll be in a constant state of tweaking everything back and forth, depending on where you are. (And in my experience it won't be as simple as turning the global EQ on or off. Any one EQ curve is not likely to be sufficient to apply to every patch you have, particularly when it comes to clean vs dirty tones. They often need very different treatments, but I digress). Yes, it's more work up front... but you only have to do it once. After a while, regardless of how a patch was created, you'll get to know what EQ changes will need to be made to adapt it to another scenario, and the process will become much less time consuming... but you'll never eliminate the grunt work altogether... welcome to the wonderful world of modeling.
    6 points
  14. A buddy of mine named Paul has a large collection of guitars. He is also a guitar tech and I was at his place one day while he was doing some work on my guitar. He was talking about his most recent visit to an auction sale where there were several guitars available. He said he wanted to buy more but in the end he settled on one Les Paul. His wife, overhearing the conversation, said “That’s what I need - one less Paul.”
    5 points
  15. If you bought The Big Book of Helix Tips and Tricks, a free update to version 1.1 is now available from your Sweetwater account. Simply download the book again, and you'll have the latest version. The update includes: • 45 more pages than version 1.0 (368 total) • Coverage of all the new effects blocks in Helix update 3.15: Ampeg Opto Comp, Ampeg Liquifier, Heliosphere, ADT, Crisscross, Tesselator, Ratchet, Dynamic Plate, Dynamic Room, Shimmer Reverb • Analysis of the new Ventoux amp tone controls • Explanations of amp Hum, Ripple, and Sag parameters • Expanded Cabinet Techniques chapter, with mic descriptions and analysis • Expanded Audio Interfacing chapter, with more HX Stomp info • Better browsing in PDF reader Navigation view (improved hierarchical expand/collapse) • Additional page with Helix resources I hope you find the info useful!
    5 points
  16. Should I put "Update the forum software to the latest version" on Ideascale? LOL
    5 points
  17. Well since you mentioned sag :) You're right that "normal" for sag is a moving target. I wanted to quantify how sag works, for my own edification, and include it in the 1.1 book update. Here are some representative examples of what sag looks like at maximum. At minimum, there's no sag. So basically, you set sag for whatever you want. Sag itself varies depending on level, how hard you're driving the amp, etc. so I think a value of 5 is as good as any - halfway between no sag, and maximum sag. This also shows that generalizations, like "sag makes things more touch-sensitive" or "sag compresses the sound" aren't all that relevant because all the amps react so differently. FWIW the Ventoux sag (at max) is closest to the Essex A30, with about 200 ms duration before it settles down. Interesting stuff...
    5 points
  18. Hi Just updated my Helix LT and went through all the new stuff in this amazing update. The weekend is saved… So figured that I make an update to my Cheat Sheet, Line6 Helix Model Summary, and hope it can be of any use for you. This version incl the 3.15 update - Amps, cabs, mics and effects are listed in order of appearance on the unit. Have also corrected some minor errors and mistyping found in previous version. On the new added models, I don’t have any info about input impedance, so they are marked TBD for now. Also, I'm not sure on some of the effects. It looks like some effects are mono in and stereo out… I got aware on this when investigating Ben Vesco’s site. Will make an update later when I find more info. Download from my Dropbox (pdf-format) - https://www.dropbox.com/s/gdme46mvj7gt4g2/Line6 Helix-Model Summary%2C 3%2C15-01x.pdf?dl=0 Have fun //Per
    5 points
  19. Try this for a start, it's optimized for the bridge pickup. You'll need to tweak the parameters for different single-coil pickups, pickup angle, and the kind of Les Paul you want to emulate, but this is a decent place to begin. I've also done HB to SC EQ conversion, which in some ways is easier to do. This isn't an exact emulation, but I think it captures the vibe reasonably well. Basically I analyzed a humbucker's response (top image), and applied EQ to give the same kind of curve for a single-coil pickup (bottom image). More stages of EQ give a more accurate emulation (I needed 5 stages to convert a single-coil pickup into an ES-335), but you reach a point of diminishing returns after a while. Hope this helps! (P.S. - If you have my Helix eBook, these are in the Free Files folder.)
    5 points
  20. Well, I guess after 7 years it was finally my turn to have a problem upgrading...sigh... No big deal. The system just got hung up installing the firmware. When it became obvious it wasn't really going anywhere, I just killed the HX Edit program from the task manager, started HX Edit 3.15 again and went through the update of the firmware again and it all worked perfectly. Who knows what caused it, but it's nice to know the update process is robust enough that it doesn't get thrown into a tizzy if the update procedure gets interrupted. Nice solid piece of software.
    5 points
  21. ....Is that ideas are scattered/duplicated/shown in different ways, and i'm not sure most customers know about this, where it is, and/or appreciate this is what Line 6 looks at. If Line 6 do look at Ideascale to get a feel for what customers want, then will they identify the trends by linking common requests together? I've tried to 'put together' some of the Ideascale requests that one way or another are all saying users want more flexibility re the current fixed patch approach, and I think that goes hand in hand with helping users to better understand DSP and have information of DSP allocations with a DSP % marker for each amp/cab/fx, and a total DSP meter. Digital Igloo (Line 6) has stated that: "The short answer: POD Go wasn't designed for the type of guitarist who frequents TGP, which is why I've spent so many cycles here shouting "It's not a Helix" over and over. The long answer: DSP meters are, IMO, a terrible experience, even for Helix. We don't want our users obsessing over which amp or effect uses more or less DSP; we want them choosing what sounds best to their ears. We also want POD Go users to almost never run out of DSP; opening more blocks to maybe squeeze in an extra compressor for the 10% of users who understand dynamic DSP (decidedly not POD Go's target market)—at the risk of the other 90% hitting the wall much sooner—is a non-starter. Ease of use and predictability are key here. We have a list of things we'd still like to add to POD Go—many of which have already been requested—but neither extra blocks nor more flexible DSP allocation are on it." But I think Line 6 may be a bit 'set in their thinking' and/or may not necessarily have a clear picture of the growing demand for the Pod Go training wheels to be taken off. Common themes are: 1. Give users DSP information (the Zoom G6/G11 does this and I think the Mooer GE300 may do this too - even Helix users have asked for this!) 2. Give Pod Go 1 or 2 extra blocks. It doesn't increase DSP, but the option will give greater flexibility 3. Give the option to free-up DSP by removing the amp/cab block for those that will sometimes want to use Pod Go for pure FX Now, whilst releasing even all the EQ/wah/noisegate/volume/fx loop isn't even close to allowing a compressor, the theme of users wanting more flexibility is the issue here: The following Ideascale links refer - So, if you want these things, please vote in each one - current votes as at today's date shown in brackets: https://line6.ideascale.com/a/dtd/POD-GO-Allow-Amp-and-Cab-IR-blocks-to-be-replaced-w-other-fx/990127-23508 (9) https://line6.ideascale.com/a/dtd/Pod-Go-Equalizer-not-be-a-fixed-block/990390-23508# (33) https://line6.ideascale.com/a/dtd/Give-Pod-Go-1-or-2-additional-user-blocks-to-maximise-DSP/1000649-23508 (16) https://line6.ideascale.com/a/dtd/POD-GO-Function-suggestions/1001513-23508 (9) https://line6.ideascale.com/a/dtd/Pod-Go/1011679-23508 (11) https://line6.ideascale.com/a/dtd/Freedom-Pod-Go-Now!/1005827-23508 (19) https://line6.ideascale.com/a/dtd/DSP-information/1015976-23508 (37) https://line6.ideascale.com/a/dtd/Pod-go-effects-blocks/1019288-23508 (12) https://line6.ideascale.com/a/dtd/Free-the-bocks-in-PODGO/1024488-235 (4) And Helix users who want a DSP meter/DSP info (this is requested in loads of other ideas, but included in a big wish list): https://line6.ideascale.com/a/dtd/DSP-Usage-meter/918997-23508 (47) https://line6.ideascale.com/a/dtd/DSP-Meter/867648-23508 (115) The only way we might be able to get Line 6 to reconsider its position is to demonstrate the demand on themes that its customers really want!
    5 points
  22. I have no idea what you guys are talking about. I bought my Helix about 6 years ago and it’s working just fine. It’s running firmware v1.30 I think. Are you suggesting that the firmware can be updated?
    5 points
  23. I'm really glad you've found it useful! My hope was that it would inspire people to come up with their own signature sounds.
    5 points
  24. Alright gents, I'll settle this... everybody drop their pants, and I'll get the tape measure. Lmao... Best thread ever!
    5 points
  25. ...unless you are 8 years old and still enjoy pissing contests, please, use the IGNORE button, and stop this nonsense.
    5 points
  26. Stop the personal nonsense.
    5 points
  27. My first notion would be that you have the wrong version of HX Edit loaded. Were you working on HX Edit or the LT when this happened? Check 'Help' --> ' About HX Edit' in HX Edit and make sure your HX Edit version matches your firmware(3.11 hopefully). Load up the correct version of HX Edit if they are not properly matched. Don't forget to do a backup, global reset, and restore afterwards. If you do have the correct matched versions of the editor and the firmware you could also try a backup, global reset, and restore.
    5 points
  28. Hi Rachmaninoff, Yes, this is possible with Helix LT. When you go into Global Settings > Ins/Outs and set 'Volume Knob Control' to 'Digital', only the Headphone volume will be effected by the Volume Knob while the 1/4" and XLR outs are set to unity. You would then adjust your preset levels by adjusting the 'Ch Volume' parameter of the amp block (as well as the output block).
    5 points
  29. We're at the point where there are diminishing returns in "better" as far as amp modeling goes. The biggest hurdle now is getting most people to understand the different between a guitar cab and FRFR with speaker/mic modeling. There still seems to be a lot of people that think something is wrong when a complete "Studio" tone through a PA doesn't feel like a 4x12 at 110dB.
    5 points
  30. We hope you've enjoyed this episode of Subjective Truth...be sure to tune in tomorrow when we'll finally answer a question that has plagued mankind for centuries: "Lima beans: Hero or Villian?". Same dumb time, same dumb channel. Tastes great! Less filling! ;)
    5 points
  31. Ok. Figured it out, thanks to another post on the forum. It requires you to run Logic in Rosetta, validate the plugin while in Rosetta mode, then you can Un-Rosetta it and run Logic in non-rosetta mode. 1. Close Logic. Install Native 2. Open up Applications folder, right click Logic, click Get Info, check Rosetta. 3. Open Logic, open plugin manager, rescan Native to validate. If it says "validated". Exit Logic. 4. Open Applications folder, right click logic, Get info, uncheck Rosetta. 5. Run Logic and verify plugin is still validated and works. Note the I'm running the latest version of Big Sur as well, so this fix works on 11.4. @vadar1
    5 points
  32. May have just found a solution. I'm running Big Sur 11.2 and had gone through rounds of trying to get this to work with multiple installs of the Line6 drivers and POD HD500X Edit. I thought to check one more time to see if the extension was being blocked and found that it wasn't, but I did find that it wasn't being loaded. In "System Information" look under the Software->Extensions for the "Line6Audio" extension. There is a property there that will tell you if the driver has been loaded or not. It should look like this: If Loaded is set to "No", type this into the Terminal using an admin user: # sudo kextutil -vvvv -bundle-id com.line6.driver.xtaudio That will cause the Security Panel to give you the dialog asking to authorize the extension. I did that, and rebooted. Once the computer was back up, my POD HD500X was being seen. I hope this helps. P.S.: I don't have an M1 mac, so I can't vouch that this method will cause the extension to load or work. YMMV
    5 points
  33. What good is an electric guitar that simulates an acoustic guitar sound through an amplifier going to do at a camp fire where there is no electricity
    4 points
  34. Re hex pickups, being able to process individual strings is really cool...in theory. At one point Brian Hardgroove from Public Enemy and I had a band (EV2) that was just him on drums and me on the Gibson HD.6X Pro hex guitar. I had octave dividers on the lower strings so I could get bass along with chords, and standard magnetic pickups for doing leads. So it sounded like a lot more than two people. (Eddie Kramer called us "The Black and White Stripes," which I thought was kind of funny - there's a one-minute EV2 clip on YouTube, although it was from a fan's camcorder so you can't really hear the guitar's bass.) The guitar didn't sell well, although some subsequent Gibson high-tech guitars that sold reasonably well, like the Dark Fire, had hex pickups. However, there are several problems inherent in hex pickups: Crosstalk. It's very difficult to get decent isolation between strings and maintain audio fidelity. So if you're distorting a string, you're still getting intermodulation distortion from adjacent strings. The high and low E have less crosstalk, so they sound "different" than the four middle strings. Dealing with all those outputs. You can't run six audio lines out of a guitar without going insane. Gibson used a modified Ethernet-type connection (similar to the Variax), so the cable itself was svelte. The strings were multiplexed digitally. But this brings us to the next problem... Where do the outputs go. The HD.6X Pro cable terminated in a breakout box with 6 audio outputs. With EV2, these went into an audio interface with 6 audio inputs. All the processing had to be done in the computer, and I used six instances of AmpliTube. But changing presets and such for six channels was a real hassle, and with the laptops of those days, six amp sims just about brought the computer to its knees. I depended on running the magnetic pickups through a multieffects to create different sounds. Gibson's later polyphonic guitars multiplexed the audio down a standard stereo 1/4" cable that terminated in a Firewire interface. That eliminated the breakout box and all the audio connections, but...the interface was Firewire (which is pretty much dead at this point), and had a fixed sample rate of 48 kHz. So if you were into using 44.1 kHz, you had to do a sample rate conversion. Then there was the issue of not being able to aggregate it with other interfaces on Windows, and the last driver IIRC was for Vista. The hassles involved in poly guitar are what led me to using multiband processing, which avoided a lot of the problems and still sounds pretty cool. I would assume someone with schematics and a sense of adventure could create a box that would create six separate outputs from a Variax, but again, now that you have the six outputs, you have to process them...so you'd need a Helix with six independent parallel paths, or a way to get those outputs into a computer.
    4 points
  35. FWIW - I'm 72 and it bugs the hell out of me when people use age as an excuse for - whatever. There are two main schools of thought in the guitar amps/fx world. ANALOG RULES! and Whatever sound best to YOU! The first group wants nothing to do with digital anything and considers MIDI to be the devil's work. The second group uses what sounds best and isn't afraid to try new things. The fact that you can still buy tube amps and analog pedals and can also buy a Helix and a Catalyst digital amp speaks to the fact that our industry caters to both groups. To summarize: The technology available to guitar players is IN NO WAY lagging. If anything, it's only restricted by the available digital tech (chips) available at a marketable price point, and the ability of users to incorporate the tech. Final thoughts: NOTE: The following is not directed at you! The more I hang out on forums the more I realize that there are many guitar players who try to embrace the digital world, but who really can't handle anything more technical than "connect wire A from output 1 to input 1". If using digital devices gives you agita, then use analog! No shame! Playing music should be FUN! Use what makes you happy and inspires you to PLAY! If a person is spending more time struggling to learn and configure their digital wonder boxes than they're spending PLAYING, they're doing it WRONG!
    4 points
  36. Hi, The “Headroom” parameter in the Helix products is added to some, but not all blocks, to suppress exactly the type of cracking that you reported. It’s something to do with the nature of the original item being modelled, for example the Elephant Man. If your signal going into that delay is a little too hot it can create the distortion that you observed. The “headroom” function is available to allow you to adjust it until you no longer experience any unwanted distortion. If you are getting unexpected over saturated, over driven clipping noise, check to see if the block has a “headroom” parameter and adjust it until it you clean it up. It seems that some items are modelled so well, they even include the noisier characteristics. Hope this helps/makes sense. EDIT: I knew I had see something about this elsewhere - I found this over on TPG. It’s by Ben Adrian -one of the main people behind the Helix models. ”If you were using the 70s Chorus or the Bubble Vibrato (or many of the rotating speakers for that matter), they have a control called headroom. We decided to add that parameter because of the following reason: Fact 1: We model most effects at "guitar level". This is because most effects were designed to be run between a guitar and an amp. Also, many of these effects distort, even when they're not supposed to. So, many analog delays and modulations have some non-linearity at high guitar levels. This is an important part of the effect because even if one does not notice the distortion as "DISTORTION", there is a harmonic complexity added because of the non-linearity. Fact 2: Most users set their amp models at higher than unity gain. This is generally fine, but it can cause issues. I think users set up a model and because "loud" sounds "good", the channel volume creeps up higher and higher. I think there's also a psychological thing that, since guitar amps make the guitar louder, a model should boost the signal as well. This behavior will cause amp models to be 6-12dB louder than a bypassed amp. Now, if one combines Fact 1 and Fact 2, and one puts a non-linear modulation or delay effect after an amp model, there will be a lot of unreasonable distortion. An effect that is mean to be used guitar level is now being fed a much louder signal and is drastically clipping. It's not digital clipping, mind you, it modeled analog circuit clipping. So, we came up with "headroom", which is a level-scaling parameter that adjusts the clipping threshold of the modeled analog circuit. If one is putting a non-linear effect after an amp model, one should adjust the headroom control to find a personally satisfying amount of effect clipping. Higher is cleaner. Sidebar: My suggested manner for setting amp model volume is as follows. 1. pick your amp model. 2. adjust your tone so that you're happy. 3. bypass the amp. listen to the clean volume. 4. engage the amp and set the channel volume control so that the RMS volume of the amp model and the bypassed amp are about the same. If users have a loud channel volume AND have the front panel volume control both set at max, digital clipping is quite possible. Cheers!” That should clear it up.
    4 points
  37. FYI... the sound guy has trim controls and pads he can work with.... For that reason, I decouple the signal I send to the FOH from the volume control.... he gets full control of my levels regardless of what I do with the volume control (which is assigned to my FRFR) If there is a reason the tech needs me to lower my signal (haven't had that happens in years) I assign my global EQ to that output and just lower the level there. I'm not using it to EQ anything, just decrease the level.
    4 points
  38. DEFINITELY not!! I've contacted Sweetwater to see what's up, I should have an answer Wednesday. They're kind of new to publishing :), especially this software-based model. Hang in there, they'll make it right.
    4 points
  39. EXCUSE ME....... but you're ALL wrong!!! Elon Musk is partnering with Line 6 to create the Next Generation virtual, fully electric, guitar spaceship platform. That's RIGHT. You can get a reverb that's LITERALLY "out of this world", and not only that..... you'll be able to recharge this NextGen Guitar Rig at any Tesla dealer. Once you try the new interplanetary delay, with the 4.7 (light years) of delay time.....you'll never go back to earthly delays again. Of course there will be fx blocks you've never heard of, or not heard before, like the new Space Silence. It's perfect empty space with no knobs or settings to worry about. Order Yours.... TODAY
    4 points
  40. I have a Helix with 20 cores that runs at 3.7 GHz. It's called "Helix Native" :)
    4 points
  41. An interesting thought occurred to me the other day. I do a lot of recording work using sample libraries. One of the big differentiators in the quality of sample libraries tends to be the ability to apply various manual articulations to the notes. It really doesn't matter what type of instrument be it strings, horns, flute, pedal steel, bluegrass fiddle, harmonica, etc. They all provide various methods for controlling attack, vibrato, swell and so forth usually quite different for different instruments. It's fairly uncommon in modeling forums to hear much discussion about various articulation methods unique to the guitar, which leads me to question whether or not the Helix can sometimes become an impediment to newer guitar players developing these types of skills on the guitar such as palm muting, hybrid picking, neck versus bridge attack, pick technique and so fort. In other words there's so much emphasis and interest in the use of different amps or effects, there's not much left for learning how to enhance the mix of their guitar with the rest of the band or the tracks of a recording through the use of various articulation techniques. What's your take on this?
    4 points
  42. There is a strong sense of diminishing returns - not just in improvements to modelling but in the size of the market. Nearly every request that comes up for something to be added to Helix (and I suspect every other modeler) is for some very tiny extreme group of users - not the 1% but the 0.0001%. yes, there are at least 10 people who absolutely need to be able to tempo sync their modulations via usb to a flying boomerang that is wirelessly linked to a midi lighting system that triggers optical sensors to run a modular synth running a midified voltage controlled Theremin. But is it worth including that feature in a mass produced product? Reading the various posts here and TGP its obvious that the widespread adoption of Helix is creating a weird phenomena where people with no experience in amplifiers, speakers, pedals, or any form of multi FX are now buying Helix because its the thing to do. Hence we see the average quality of questions falling from "I cant get my footswitch with two controllers and three bypasses assigned to show the right led setting", to very crazy stuff like "I hit the mode button and all my patches disappeared what should I do?". or worse "I wish it was possible to change settings by hitting a footswitch". I am prepared to bet that 95% of helix users have never adjusted a setting for sag or bias or impedance or headroom or early reflections or mic distance etc. I am one of the people that would enjoy a more complex machine but I just dont see the market for one. I can imagine a firmware version with LESS complexity for basic users.....
    4 points
  43. Ignore whatever you've read online because the simple truth is this: Any of the devices you've mentioned are equally capable of creating sounds you like with headphones... or studio monitors, or live straight into the PA... provided that you know what you're doing. And it might sound harsh, but anyone who says otherwise, simply does not know what they're doing. But it's not because they're stupid, or a lousy guitar player... it's just a lack of experience, and/or a lack of understanding of what a modeler is actually designed to do, as compared to the guitar amps they've played forever. A modeler is not a guitar amp... it's a recording studio in a box. You have to stop thinking like a guitar player, and start thinking like a recording engineer... because the whole point is to reproduce a recorded guitar tone...amp+cab+mic... NOT the sound of your favorite amp as it roars away 6 feet from you. What you're getting is exactly what you'd hear in a studio's control room, listening through monitors to the amp that's mic-ed up in the room next door. That means understanding how mic choice and placement affect tone, and having a thorough understanding of EQ (beyond the amp's native tone controls) and how to boost or cut the right frequencies to achieve a desired result. And none of that will happen overnight. You will have to learn how to create the sounds you want, no matter what you buy. If you've been playing through tube amps your whole life, then you have a steep learning curve ahead of you. We all did initially. In the end however, it is no more difficult to create a patch for use with headphones, than it is for studio monitors or a full stage PA. What tends to be difficult for many at the beginning, is understanding that each output method is a fundamentally different device, with different frequency responses. Simply put, the same patch will sound different (to a greater or lesser degree) every time you change the output device. What works for one, won't necessarily work for another without making some adjustments... and the only way to figure it out is through trial and error. Buy any decent pair of reasonably flat response, studio quality headphones, and you will be fine... but there is no magic bullet. If you had 6 pairs of cans at your disposal, and you dialed up a magnificent tone with the first one you tried, it is a virtual certainty that the other 5 will all end up sounding slightly different... it's unavoidable. You might prefer one over the other for whatever reason, but that doesn't make those headphones objectively "better", or "easier" to dial in than the rest of the lot... nor does it mean that you couldn't get two different pairs to sound virtually identical with the right EQ adjustments. The moral of the story is this: don't fixate on any one piece of gear. Understanding the process is the key to success.... once you understand the "how's and why's", you can dial in a good tone on anything that somebody puts in front of you. The tools change... but the underlying concepts that govern their use do not. Watch some Helix- specific YouTube tutorials on how to create a tone. Jason Sadites' channel is a good place to start.
    4 points
  44. Snapshot mode press Upper Knob select the offending Snapshot using Knob 2 press Action button press Rename Snapshot = Knob 1 press Page> button set Switch LED to Auto = Knob 3 Save preset Or use HX Edit: ctrl/right-click the snapshot name and change the color from the context menu. (Yeah, I'm using color LEDs with snapshots a lot… :)
    4 points
  45. Before the 3.0 firmware, I was selling my Helix Rack. After the 3.0, I kept the Rack and also grabbed a HX Stomp. Imho they perfectly know what to do to revamp the beast, and keep it in the market. The introduction of kind of granular approach (even if isn't a real granular algo), with glitches effects, shuffling loop, drift effects and a solid ambient reverb etc... means to me they are watching the entire market (not really only ODs, high gain, and rock stuff) and patching the Helix to keep it on this century. I don't remember anyone asking for those effects, they aren't really meanstream algos, but instead of just feeding the old userbase and the average Helix user, they did it - making the device ready for a even wider sound design palette (usually territory of Empress, Glou Glou, Chase Bliss etc.) . And this is why I kept my rack, and bought another HX device - instead jumping on a different brand. Just to say, let them do their job. ;)
    4 points
  46. I can only think of one reason to scratch a serial number off anything. Two if it's a gun.....
    4 points
  47. Very cool! The crucial aspect is that loudness meters work differently from conventional meters, because they measure perceived loudness. I use LUFS (loudness) metering for matching bypassed/enabled levels in an FX chain, so that I can bring effects in and out without perceived level changes, even though the levels measure different peak values. Of course, you want some effects or presets to be louder or softer, but I find it's easier to deal with getting the right preset levels and such when they start from a standard baseline. The analogy I use is pickup pole pieces - it's easier to adjust them if you start with them all screwed in halfway. Then you can raise or lower as needed. If you want to know more about LUFS, I wrote an article for inSync that you might find useful. It could be TMI because it covers LUFS more in terms of mastering and recording, but you may find some of the tidbits helpful. The part about true peak is also of interest to guitar players. Unlike standard peak meters, which measure the level of digital samples, true peak extrapolates the level after going through D/A converters. The conversion's smoothing process can produce levels that exceed zero (this is called intersample distortion), even if the meters measuring the sample levels indicate levels below zero. Then again, if the audience claps, none of this really matters! But audio is a fascinating subject, particularly when it comes to guitars. I've just always loved the sound of guitars, and finding out what creates that glorious sound has held my attention for decades.
    4 points
  48. AFAIK, that'll make it sound weird, but won't cause damage. You can get an in-line Phantom power blocker to prevent that in the future. If the screen is still black after a couple of reboots, use HX Edit to do a backup, then do a Factory Reset by booting while holding FS 9+10. If that doesn't fix it, call support!
    4 points
  49. 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.
    4 points
  50. It's $449 bucks. You want the other stuff then buy the Helix . They had to cut features to make it cheap. I think they did a great job.
    4 points
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