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I don't see any way to get more than one page of results or how to sort by date or anything else.4 points
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Funny story. Turns out not to be a bug. I submitted this issue as a support ticket and in response Pete in Line6 customer support pointed out that the problem is that global setting MENU > Global Settings > Switches > "Stomp Select" was set to "both". What that means is that when I pressed the FS, it went into setting mode, and the scribble strip reflected that. Changing the global setting to "touch" solved the problem. Now, to make a change in the FS setting I'd need to touch, rather than press that (or any other) FS, but that's fine with me. Thanks, Line6 support (and Pete) for a prompt, helpful response!4 points
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I agree. I used to like sorting by date so I can see new patches that had been submitted and might want to try...now that seems impossible. bring back the old site!4 points
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I hate this idea. Helix is a guitar processor. If you need a drum machine, buy a drum machine. I have the Beat Buddy. It works quite well. Please don't screw up my guitar processor by adding non-guitar stuff to it. In case you were wondering, I also don't want to see a blender attachment as I don't think I will ever want to make margaritas with my Helix. Why not? Because it is a guitar processor, not a bartender .... or a drummer. Thank you. (insert rolling eyes here)3 points
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Who hates the New Custom tone site and misses the old one? The old site was fine and easy to search for patches. New site is terrible and frustrating. Who else feels this way?3 points
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No. The way to do that is to set the exp pedal to send MIDI, then record that on a separate MIDI track. Actually, if you use Reaper you can record the MIDI on the same track as the DI from USB 7. Then you set the wah in the Native preset on the reamp track to listen for the MIDI CC you set the Helix Exp pedal to and send the MIDI from the DI track along with the audio. You'll also need the Bypass CCs matched.3 points
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Does the click track send MIDI Clock info? If so, check Global Settings -> MIDI/Tempo3 points
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BTW I gigged with the Catalyst last night. Couldn't fault it. Don't think I'll need my Marshall now.2 points
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IF you can find one, they are still fixed CC's, not sweeping. It would DROP the pitch, then return it - you will not have control (with foot) at how fast the pitch drops. If the effect you are using in the helix has a way to vary the drop speed, that is your only hope. I'd recommend buying a spring loaded expression pedal. Also hard to find, but that would give you the control you really require. Or, buy any cheap expression pedal and do this remarkably simple mod. (it doesn't have to be the expensive expression pedal in the video)2 points
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I see this as further evidence that Line 6 is recognizing the realities of the modern guitar playing audience which is simple and portable. I think we've been through a bit more than than two decades of self-indulgence when it comes to our guitar processors which culminated in the original Helix line. A powerful do-it-all processor for any modeling job you can think of born in the age of massive floor pedal units. But those days are trending out I believe. Don't get me wrong. I love my Helix Floor and I'll never replace it because it does everything I want or need it to do, and I ask a lot of it. In reality my Helix is now more of a stage performance control unit nowadays than it is a pure floor modeler. After I get it set up I don't touch it other than to use the volume pedal to turn it down while I switch guitars because all other actions on my Helix are controlled externally. The vast majority of my presets are relatively simple because the requirements of each song are not terribly daunting. The role of guitar in music has clearly diminished from where it was when the Helix was introduced and not a lot of younger players want to cart around a unit that has great capabilities out of which they only need a simple few. Even my own time on guitar has diminished considerably as I tend to focus much more time on my keyboard work. But that's just the natural situation dictated by the music environment of the times, and that fits me because I'm also ready to move into new adventures and challenges beyond just the guitar which I find limiting given modern music tastes. I think Line 6 recognizes these kind of changes and are adapting to it because they're a VERY wise company having been successful for a very long time. Of course music trends are commonly cyclical, and things may change back at some point. Having been a musician my entire life and turning 72 this year, I'm ready for something new to challenge me for however much time I've got left on this rock.2 points
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i jumped on ToneX when it was first released - I could finally afford to find out what this "profiling" thing was all about! First thing I did was capture my one and only amp - my Catalyst. TBH, I couldn't tell the difference. Cool! Then I spent too many hours auditioning captures on Tone.Net. Turns out the ones I was liking best were mostly done by one guy and, when I looked into it, they were captures of his AXEFXIII! Since then I've gotten the ToneX pedal and a boatload of Amalgam captures. Now, the main reason I wanted in on this was to get a chance to try a bunch of amps I'd never even see ITRW. Invariably, after playing them for a while, I go back to my Helix to see if I can get those tones. Yep. Exact? No. Close enough for R'n'Roll? Yep. Bottom line - ToneX is fun. I still play Helix most. More and more just my Catalyst. What can I say - simple man, simple needs. Of course, as always, YMMV!2 points
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Correct. Don't look for the correct plug for too long, better get an adapter cable (or two, just in case). That way you should be able to use pretty much any halfway decent power supply.2 points
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Hard to say if it's a lack of understanding about the target demographic, or the genuine belief that "I have no use for this thing, therefore no one else will either". We live in a bizarre time, and people are weird. And guitar players are weird and crazy....2 points
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The USB7 dry signal is tapped at the Helix Input block, before it undergoes any DSP, which is what defines ‘dry’. Hence, no it doesn’t capture anything about your preset, including the Wah pedal. You can use MIDI with Helix Native to control the bypass state and pedal position of the Wah. You can do this manually during every playback using the Helix pedal controller, or (probable preferably) you can record a MIDI Automation track that captures the pedal movements once and then applies the automation during all future playbacks. Details vary with the DAW but the Helix Native part of it is explained in the manual.2 points
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Hi, Ben, I would regard your question to be more esoteric than existential, and as we are generally not psychic in these forums, it's really big help to know what DAW you are using, and on what computer OS. Anyhow, here we go. You would be best advised to have some sort of MIDI Controller for this job, but firstly, check out this video for some idea of how it works. The section named "The Better Way" @ 4:08 makes most sense of how to approach this. Hope this helps/makes sense.2 points
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See that little button labeled "UI" at the top right next to "2 in 2 out"? Click that.2 points
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@rd2rk, thanks for confirming. I submitted a request to support just before posting this discussion. I'll update the case notes with a link to this discussion so they can see that others (at last you) experience the same issue. Thanks!2 points
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@yoMuzicManYou have re-uncovered a bug. Meaning, this has been noted before. IDK if it was ever reported, so you should open a support ticket to report it. But to be clear, I have tested and this is real. At least, on my HX Stomp. I haven't tried on my Helix Floor, but no matter, REPORT IT!2 points
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Works now. I turned spillover off and then turned it on again and the settings took effect. Strange that they didn’t the first time… but good to go!2 points
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I don’t know whether or not there will ever be a 4th snapshot for the Stomp. Also I don’t have an HX Stompmto experiment with so this is purely theoretical…… There might be a way to use one Snapshot and one or more FX blocks turned on/off appropriately to provide you with what you would otherwise call Snapshot 4. For instance, could you blend your Crunch and Rhythm snapshots so that Crunch = Rhythm + OD FX? Or your Rhythm to be Clean + Mod + Del? You get the idea. Doing that, and configuring certain Global Settings appropriately (e.g. snapshot toggle), you might be able to use 3 defined Snapshots plus the Bypass feature and Mode switching to yield a 4 snapshot setup. I haven’t investigated this approach so it might or might not work or be practical.2 points
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In Global Settings>Ins/Outs, the SEND that you're using should probably be set to INSTRUMENT. Now you know why it's 50/50 whether to use distortions in FX loops. They're designed to be connected between a guitar and an amp input. Other stuff (even other physical FX) tends to change the formula in unpredictable ways.2 points
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Thank you so much @loonsailor for taking the time and finding out what was going on. At first it didn't work, but after a factory reset, it now works perfectly. Thanks again.2 points
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I second the "try the amp models instead" advice. But if you want to try the preamps go to the output block and crank the level to +20dB. Here is a link where the preamps are explained.2 points
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Test this: Put a patch cable from Send1 to Return2 and test FX Send1 block -> FX Return2 block for signal Put a patch cable from Send2 to Return1 and test FX Send2 block -> FX Return1 block for signal You should then know whether FX Send1 or FX Return1 is not working. With that knowlegde open a support ticket.2 points
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I submitted a ticket an hour ago, as well as posting in the Bugs stream of this forum last night.2 points
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Thanks, rd2rk. When I first import and load the preset, FS1 has the label Dirt. But, when I press it the strip switches to "snapshot". Repeated presses toggle between the two snapshots, but the scribble strip always just says Snapshot. However, the FS LED does change color. I set different colors on my own preset's snapshots, and it also changes color. Seems like a bug. I've had my unit since they first came out, but this is the first time I've needed snapshots, so I don't know if it worked properly on a previous version.2 points
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The same thing happens for me (HXFX, 3.71). I have two snapshots created and named. When I enter snapshot mode (bank up+down) they both names show properly. I set up foot switch one using command center like so: snapshot 1 - press/release press = snapshot 2, release = snapshot 2 snapshot 2 - press/release press = snapshot 1, release = snapshot 1 When I press FS 1, it does indeed toggle between the 2 snapshots as intended, but the scribble switch always just says "snapshot". Another weirdness is that it seems to be necessary to make both press and release go to the desired snapshot. I originally set release = none, assuming that meant nothing would happen on release. But instead, when release = none it takes two presses of the FS. First press does nothing, second press toggles as intended. I don't understand that at all. Maybe it's worth mentioning that I set everything up using HX Edit, not on the unit itself. That includes both the command center stuff and the snapshot names. The snapshot names do show correctly on the scribble strips when in preset select mode.2 points
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Hi, Check out page 32 > Customising a Snapshot Footswitch’s Name and Colour in the HXFX Manual. https://line6.com/data/6/0a020a411710a6112a67116f0b/application/pdf/HX Effects 3.0 Owner's Manual - English .pdf If this is how you are creating and saving your Snapshots and you are not getting the correct result, you may have found a “bug” that needs investigating. If this is the case you should contact Customer Support to raise a ticket, unless another FX user can help out. Having said that, as all Helix units share the same basic firmware, if it was a bug then others would probably have this issue on other hardware. When weird stuff happens - a factory reset usually helps. Hope this helps/makes sense.2 points
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@brAzzi64 Ok. This was interesting: What happened there is that Ola's original file has leading silence of 27ms (almost silence - just very low noise). An 1024 samples IR at 48kHz is about 21ms long. So you imported the file and listened to the silent part using a 1024 sample IR block. But why did it work after ffmpeg re-encoding? -Because ffmpeg makes almost silent parts completely silent (for better compression rates). That complete silence was now recognized and removed by HX Edit during the import.2 points
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I'm trying to sell my Helix Native account for $100, PayPal only. It came for free with my HX Stomp purchase, just never use it. Reply if interested. edit: SOLD2 points
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An upside to the Go though is that it does have some excellent effects. So even if you were to get a new unit for some reason, there would still be use from the Go as an FX unit; bypassing amp & cab, just using for the fancy reverbs, looper, etc., Competition - Boss GX-100 - Mooer GE300 - Headrush MX-5 - Valeton GP200 - Zoom G6 There's a bunch of also cheaper effects, at 1/2 the price, but even if somehow the sound quality of the cheaper units was great, I think all these lose out in flexibility, like ordering effects, PC software, colour screen, etc. Think I'd have a hard time choosing given the Go's alternatives today. Indeed, two years ago, going Go was the obvious and easy choice as there wasn't that much competition imho. Go's complexity The biggest drawbacks imho to Go is complexity. I'm still not super happy with the cab/mic and IR side. Out of my 100ish IRs, I'm often just scrolling and scrolling and the majority sounds like 'crap' to my ears. They may be imitating real cabs and real mics, but I don't really care, I'd just want 'good sound', I'm not really interested in being 100% accurate to the real thing; I'd just rather have a bunch of great sounding emulated/virtual cabs even if they aren't accurate to existing cabs. In fact, I was wondering if 'optimal' or 'virtual' IRs exist, some do; like mixes of different cabs... I'll definitely have to look into that. Cabs, mics, mics distance, IRs ... 99% of the time I'm messing with Go, I use the Best IR in the world, https://www.youtube.com/watch?v=BI6rovO03DA since yeah obviously it's the best IR in the world! I've not wrapped my head around cabs + mics. The cab + mic + distance is just too much for my brain (memory & understanding), and I can't get a good grasp / ability of thinking of a sound and getting it by tweaking the settings. Too many combinations of mics, cabs, add the distance, the hundreds of cabs and mics combinations, it's just too much for my brain. Do we really need so many cabs and effects? How many different compressors do you need? It's the same for the effects; amps, etc., it takes a long time to really know 1 effect (ex; dynamic hall reverb, or glitz, compressors.), so even after 2 years, I'm really far from being a PGO expert. Hell, Go is too much for my brain. I'd say I'm maybe familiar with ~10%; I'm starting to know some amps, effects, but I've got what, maybe 3 dozen patches I've built up, and maybe 6 dozen downloaded patches, and I'm mostly using the same ~10 favourite patches, which I'm still tweaking.. Who is Go best for? So in the end, maybe the Go is best for musicians, experts who really want 'real life' simulation. For an amateur like myself, maybe a simpler unit would have been best. How many cabs do we need? How many amps? If we had just 12 great amps, even if they're not based on real amps; bit like the Boss Katana or L6 Spider type of logic; 'brown sound', 'crunch', 'metal', etc., with like 12 amazing IRs, that would have been waaaaay better and sufficient for me. Maybe we don't even need cab/IR block in reality, you get some EQ capabilities with amps & EQs, I'd prefer having say 24 amps and no cab/mic block, vs 12 amps + 12 cabs. The 24 amps would be tweaked amp/cabs/ir combinations, so great sounding 'presets' for the genre, vs you having to find which combinations works and doesn't work; so; tweaked presets, vs you having to resolve the puzzle of what works/doesn't... So; someone having done the work to give you great Amp + cab/IR combinations, rather than you having to figure/tweak everything yourself. Do you need a PhD in Pod Go? Not really, Go is simple enough so that anyone can fiddle with it and get basic good sound in just a few minutes. BUT, if you want to extract the most out of the Go, and make it sound it's best, or exactly like you want, it's really not that simple. The devil is in the details. And IMHO, the more complex, the more true, and Go is extremely complex. Pre-conclusion So yeah, imho Go is still a great unit in terms of sound quality, capabilities, etc., still a great option, but yeah I don't really know the competition, which seems somewhat overwhelming/overtaking the Go. Think yeah the go is starting to be a bit underpowered from some of the comparisons I've seen... Hell.. I said I wasn't looking for an upgrade... But thinking, maybe I'll start looking at the details of what's out there. Is tweaking Go fun or work? And honestly, the reason is that PGO feels like work. It's like getting a PhD in PGO. And using the Go 'correctly' is using a bunch complex formulas; it really does feel like work in a sense. You can mess with effects/settings/etc., but it's always frustrating that everything is always so complicated; like a simple thing; a stupid mouseover which explains what a setting is................ Instead... It's having to get on the computer and do a web search for w-t-f a setting does .......... That's not fun.......... And in the end, you're all too often overwhelmed. So... Meh... Future? So yeah, ditching that for a simpler unit honestly feels somewhat exciting. If somehow you're getting improved sound quality, huge bonus, but in the end, since getting the best out of the Go is so complex............. You're going to get better results if the unit is simpler to use. Like the Dynamic Hall......... I've been wrestling with it for a couple of weeks. Sure, I've managed to make it sound good, but it's always like i'm missing the last 10% that I just can't get quite right... Ex; videos demoing sound, the reverb will sound better to my ears on the video than on my Go it seems........! Conclusion So yeah, if getting to the finish line is made easier by having less options/complexity; a simpler unit helping you to get great results without overwhelming you with a gazillion options, that would be best for me. That may be the Go's biggest drawback for myself. It's not the lack of outputs, parallel paths, multiple amps, not enough DSP or blocks, sound cut during patch change, etc., it's just that the thing is a bit of a pain to use due to its complexity. (Not as per switching amp is complicated; but so many amps and so many amp settings, or so many effects and so many nebulous effects settings, etc.)2 points
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I get the same result as klangmaler, can’t find that driver either. Tried to search for it in different combinations, no hit. rd2rk, Sure you don’t have a VIP or an early adapter account? :-) Is the fix only for Core Isolation-problems? I run Win10 and has no problem with that. //Per1 point
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Take off the knob, tighten the nut, put some nail polish on it so it stays in place, put the knob back on and it'll be fine!1 point
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As I'm on a "vintage" Mac (Mac Pro from 2010) running Mojave, I can't exactly tell, but my best bet would be that there's some Intel "traces" in Line 6's software, requiring Rosetta to run in the background - which, AFAIK, Apple will throw out at one point in time (which will be when they happen to think developers had enough time to adjust). And that point will happen rather sooner than later because Apple doesn't give the slightest damn about their customers.1 point
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You have an Android. All Androids are different when it comes to USB/music app support. All iPhones/iPads just work. I'm not a fan of Apple but have iPhones/iPads for that specific reason.1 point
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Oh, that forum where the average age is 60 years old, and the average mental age is 14 years old? No, thanks.1 point
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Hi. i read the manual and already know how to activate preset spillover. As noted in my original post, I DID have it activated. The second path was removed.1 point
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I experienced this the hard way as well. Took awhile to figure it out. More to the point, I had given up solving the issue and then one day I unplugged my USB cable first.1 point
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Thanks for the suggestion. I tried #1 and #2. For both situations I get a signal when a block is set to any send/return option except FX Loop 1 and 2. However, when I insert a drum machine into Return2, it works, whereas in Return1 it doesn't, so at a minimum, Return1 appears kaput. My unit is long out of warranty, and I'd rather do without than pay for a fix, so I guess I'll just open it up and look for a bad connection. Thanks again.1 point
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I just had another look at the BOSS SL-2 manual re: "Controlling This Unit from an External MIDI Device" Page 10. When a start (FAH) message is received, the slice pattern is output from the beginning. This is the same as the info which you quoted above, therefore I'm guessing that once the MIDI clock takes control of the Slicer, then a SR Msg "Start" = binary 11111010 - hexadecimal FA (or FAH) it should trigger the pattern. We will never know how it responds until the OP can figure out how to get the Helix and BOSS to actually communicate via MIDI. In the end it's just a bunch of ones and zeros! :)1 point
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The HP monitors the Main Outs OR the SENDS. In Gobal Settings Ins/Outs set PHONES MONITOR to MAIN L/R. Place a SEND L at the end of your signal chain. That goes to FOH and/or wherever the band's In-Ear Mix comes from. In Global Settings Ins/Outs set RETURN TYPE to AUX IN. Take your In-Ear Mix into the RETURNS.1 point
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Just created a support ticket, thanks for responding.1 point
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Hi, There are no Line 6 staff here, and only very occasionally do they visit these forums - (See the “sticky comment” in the black banner stripe at the top of this page entitled “Welcome to the Line 6 forums”). This link is where you need to go to have any hope of your suggestion been seen by anyone from Line 6: https://line6.ideascale.com/c/ Before posting any new ideas, please do a search to see if it's already been listed. Multiple requests for the same thing will thin out the votes. Also, post your ideas one at a time. Many users don’t vote for combined suggestions. Then you should use the “sticky thread” in the main Helix forum to let other users know what your suggestions are, with links to IdeaScale, so they can vote on it if they wish. Hope this helps/makes sense.1 point
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You should verify things in a regular thread before posting as a bug. This is NOT a bug. It works fine on both my Floor and my HXS. I suggest that you perform a factory reset.1 point
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Please, please add a mode that will show the Preset Name instead of name of the effect. I am using two external buttons to scroll up and down through the presets. For the sake of argument, let's imagine I am only using one effect type, PolyPitch. I can have several presets with various settings saved, but for all of them the display will simply show "PolyPitch" and not my custom Preset Name. All the different sounds are indistingushable when labeled that way and the only way to navigate is to try them by ear. This is catastrophic and renders the unit useless for me... (I realize, that the list view is the intended way to do it, but with external footswitches it practically doubles the amount of clicks needed to operate the unit). It gets worse! To see the Preset Name at all I have to enter the list view by pressing both footswitches. Both footswitches are also needed to access the tuner. It is very easy for one footswitch to slip while holding both of them in order to access the tuner - the pedal will then either enter the list mode or activate a preset. I also wish there was a way to cue the presets with external footswitches from the single effect view. External footswitches would scrool through presets and the built-in ON footswitch would activate it. Those behaviours are native to other Helix products and as a seasoned HX Stomp user I can't wrap my head around this not being implemented in HX ONE, especially because of the small form factor. Best, Janko1 point
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Exactly the same here ... wanted to make myself a x-mas present ... big disappointment. Running it in 4CM into a Bluguitar Amp1. Crazy that Line6 did not remedy this for good (HX Effects had the prob back in 2019 or so ...). It needs to go back I am afraid. Any useful reply from Line6??? https://youtu.be/MvNk86m8VXc https://www.youtube.com/watch?v=giKZXMwU0yc1 point
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I have 2x HX Stomps. 1 has never given me any issues. The other has had this drop out issue. It got sent back about a year or so ago and they did something to it. The screws were tampered with. It came back with newer firmware than was available at the time and didnt have any issues until recently when it started doing this again. Both of them have always used the L6 power supply as I had room under the board to tie it down. Its started doing this again but Ive always just plugged in a master power supply cable and everything powers up from that. Ill try letting the rest of the board start up before turning on the L6 and see if that helps.1 point
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Same problems for me! After playing for a longer time with USB connected and changing presets the sound is gone and sometimes everything freezes. Today I restarted immediately and disconnected the usb (before restart) After a few preset changes the same bug again. I could repeat the restart and sound gone after preset changes for a few times. But when I waited a little longer before restart everything works as normal. (But of course the bug shows again when playing a little longer and changing presets then.) I had this problem from the start and opened a support ticket in April. Everytime i explain the bug but only get new instructions. Well of course I try it (because I am really interested in getting this fixed. I like the concept of the HX Stomp!) But now after 4 months I am tired of trying new things. I started with firmware 2.82 and now my unit is in 2.92 I bought this expensive device to have a great experience but it is really the opposite.1 point
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https://soundcloud.com/user-512214365/intruso-pod-hd-ezdrummer '65 Marshall JTM-45 [bRIT J-45] (no master) --> Defualt setting 10 The JTM 45 was the first Marshall ever made back in the early 60s. It was built from 1962 up to 1966. It didn't actually have a model number at first, but later it was called a JTM45 (which got its initibls from Marshalls son Jim Terry Marshall).. It has KT66s tubes a tube rectifier, and no master volume and is around 30-45 watts. the JTM 45 had a common biased preamp section, had the same gain in the first preamp stage for each channel, one bright and one dark channel for added bass response. Were equipped with 6L6 (5881/KT66) tubes that provided a more open and less heavy distortion. Clapton used it for the Bluesbreakers album probabally making it most famous there. Its supposed to be really good clean with a good marshall breakup too. One of the earlier amps that, as mentioned above, found its inspiration in the tweed Fender®Bassman®, but nevertheless managed to sound like something quite different as it took on several constructional twists and design elements that marked the beginning transition from a mellower Fender like tone to the distinctive, bright crunchy sound of all Marshall® amps to follow. Hefty, high-quality British transformers and KT66 output tubes (a 6L6 equivalent, but with more power and punch) gave the JTM-45 a huge soundstage and a smoother overdrive tone than the later EL34-based Marshalls that more players are familiar with today. Cranked through a closed-back 4x12 cab with Celestion G12M Greenback speakers, this rig evokes the archetypal Brit-rock and blues-rock guitar tone. Interesting side note: this is the exact same amplifier as the Marshall Bluesbreaker that Eric Clapton made famous, but in head form, rather than housed in a 2x12 combo. This is your starting if you are looking for that beano tone. Brit J-45 NRM: The Normal channel is the mellower of the two, with less (as you'd expect) brightness and gain than the Bright channel. Brit J-45 BRT: The Bright channel utilizes the second half of the first preamp tube (the Normal channel uses the first half only) for a different voicing. High frequencies are increased due to an inter-stage high shelving filter It's a nastier, brighter Fender Bassman. Great clean, for dirty blues, up to Angus Young type stuff. Tips: It's a bass-heavy amp ; Decreasing Bass could be a good tip. Great for clean tones as well as rock tones ----------------------------------------------------------------------------------------------------------------------- '65 Marshall Plexi 1959 Super Lead 100 (BRIT PLEXI) (No Master) Tthe stack four inputs, EL34 tubes Both the Normal and Bright inputs of this legendary Marshall 100 watt beast. First produced in 1965 (note that the 959 is a model number and does not indicate the date of manufacture) is often referred to as the original Plexi, featuring two channels and four inputs. It was utilized by Pete Towsend, Eric Clapton, and most famously, by Jimi Hendrix at his Woodstock performance. Brit Plexi Nrm : The Normal channel, as you might expect, offers a flatter EQ response and a bit lower gain, well-suited for rhythm playing. Brit Plexi Brt: The Bright channel features a boosted, brighter tone, which is ideal for a more cutting lead tone Brit Plexi Jump: Normal channel + Bright channel jumped from imput. Guitar playing is all about experimentation, isn't it? That, and finding all the possible ways to get more distortion out of whatever gear you have at hand. One of the fun things you can do with a Plexi is take a short guitar cable and jumper channel I and channel II (as they're frequently numbered) together for a little extra saturation. Some guys loved this sound so much that they pulled the chassis and permanently wired a jumper into the amp. Being the obsessive/compulsive tone freaks we are, we just had to give you the Plexi Jump model to give you a sound based on of this setup. Modeled after* the infamous '68 Marshall 'Plexi' Super Lead. By the time this amp was built (ca. 1968), Marshall had completely changed the circuitry away from the Fender 6L6 power tube heritage and moved to an EL34 tube. Another major tone difference was due to the necessary output & power supply transformer changes. All this mucking about added up to create a tone forever linked with Rock Guitar. Amps of this era didn't have any sort of master volume control, so to get the sound you'd have to crank your Super Lead just the thing to help you really make friends with the neighbors. Hendrix used Marshalls of this era; a decade later Van Halen's first two records owed their "brown sound" to a 100-watt Plexi (Our Super Lead, in fact, has the 'lay down' transformer that was unique to '68 models, the same as Hendrix and Van Halen's Marshalls.). To get a crunch sound out of a Plexi, you would likely crank the input volume and tone controls. You'll find that, in keeping with our "make-it-sound-a-whole-lot-like-the-original" concept, this model is set up to do pretty darned near the same thing. Tips: Plexi is supposed to sound fizzy (it's helps to cut through in a mix). Don't be afraid to turn the bass all the way down or the treble all the way up. Just like with the actual amp. For example, on the normal channel of a Plexi most people turn the bass way down. Otherwise it's too flubby." Settings for a "typical" Plexi tone could be aprox. Bass: 2, Mid: 8, Treble 7.5. Presence adjust to taste. ----------------------------------------------------------------------------------------------------------------------- '71 Park 75 [bRIT P-75] (no master), brightness=presence? Were manufactured by Jim Marshall from the mid 60s until the late 70s as a means of circumventing an exclusive English distribution deal for the amplifiers bearing his own name. It got its name from the dealer Johnny Jones wifes maiden name, Park. These amps have become legendary in their own right, but none has quite attained the status of the beefy Park 75. Although they were usually based loosely on circuits used in classic Marshall amps, Park models were often given clever new twists, such as the increased front-end gain in the 75 and the use of military-grade KT88 output tubes rather than the traditional EL34s. Our specimen comes paired with a 1973/74 speaker cabinet loaded with four Rola Celestion G12H speakers. Add it all up, and its a sizzling, crunchy plexi-style tone like nothing you've ever heard before, equally adept at classic British blues-rock and contemporary grind. Line 6 snatched up its Park 75 during an amplifier recon trip around Southern California. On the hunt for another piece of gear, Line 6ers noticed the Park 75 peeking out from behind other amps. A rare find (according to legend, only 300-400 were ever made), the amp was in great shape and its cab was complete with original Fane speakers. A short test-drive was all it took for the recon group to fall in love with the vintage vibe that sounded as good as it looked. Brit P-75 NRM: The Normal channel is the mellower of the two, with less (as you'd expect) brightness and gain than the Bright channel. Brit P-75 BRT: The Bright channel utilizes the second half of the first preamp tube (the Normal channel uses the first half only) for a different voicing. High frequencies are increased due to an inter-stage high-shelving filter. ----------------------------------------------------------------------------------------------------------------------- '82 Marshall JCM-800 [bRIT 2204] As Marshall amplifiers evolved through the course of the 80s, the JCM-800 (1981-90) came to stand out as the new flagship of the range. While the 2210 version”previously modeled by Line 6 was enjoyed by many for its 100 watts of power and two foot switchable channels, the 2204 50-watter EL34 came to be known as the flag-bearer of classic Marshall tone. With its one, dual-input channel, added versatility of its Pre-Amp Volume and Marshalls new Master Volume control, the JCM-800 2204 was otherwise not a stones throw from the hallowed plexi and metal panel 1987 Lead Models of the late 60s and early 70s, although its front-end gain could be tapped more easily without blowing your head off. Cranked through a closed-back 4x12 with Celestion G12T-75 speakers, this is the pure sound of 80s rock, the amp that propelled countless hits from that decade and beyond. Turn to this Amp Model to conjure up tones of the coveted JCM 800, one of Marshall's most universally acclaimed modern amps. This updated version of the Plexi continued Marshall's heritage with added gain and edge for a new generation of rock guitarists. One of the biggest differences here is that the tone controls are located after the preamp tubes. Tips: Turn up Master Volume. Try with a low-gain TS808 or Tube Drive. The real amp is too bright, you can adjust the various tone controls and parameters to reduce the brightness to your tastes presence normally way down. They are designed to be run loud and the brightness decreases as the MV is increased. Designed to get their character from power amp distortion. If you don't push the power amp all you are hearing is the preamp which is voiced to be trebly. The power amp then compresses the highs and the sound gets fatter, but MV too high and will get muddy. The sound of 80's hair metal,treble boosting amplifies the upper frequencies, however, that treble boosting helps the sound cut ----------------------------------------------------------------------------------------------------------------------- 2002 Bogner Uberschall [GERMAN UBERSONIC] Plenty of amps have fought it out to be baddest of the bad in the high-gain stakes, but the Bogner Uberschall is as heavy, mean, and downright evil sounding as they come. With a whopping four 12AX7s worth of preamp gain, plus two more for FX loop and phase inverter, rammed through a quad of EL34 output tubes, the Uberschall (German for super sonic) was designed to be Armageddon in a box. A take-no-prisoners distortion machine for the most aggressive shred and nu-metal players on the planet. In addition to its unprecedented levels of highly saturated gain, this amp packs the eviscerating bass response needed to put this kind of music across on the big stage. This model is reminiscent of an 800, modded for heavier, grinding lows and what some call insane gain. The presence knob on the Bogner Ubserschall is more like a contour, affects most of the midrange as well. Tips: Heavy grinding lows and insane gain, it could be too boomy (low cut). From Real Amp manual: starting point control values, gain 60%, bass 60%, mid 60%, Treble 60%, Presence 60%. Keep the Master volume low (5 or less). Turn up Presence, add Mids Bogner manual: "One of the most unique items is our "Presence" control. It's an amazing combination of a midrange-presence control. As you sweep through its range you will notice an incredible variety of tones this one control allows. For an extremely aggressive sub-harmonic bass and scooped-midrange sound, keep the presence off or very low. A huge 3-dimensional tone can be found by running the presence around 2 o'clock. Pushing the "Presence" control to maximum will allow you to cut a sonic path through the mix by reinforcing your midrange and slightly rolling off the sub-bass. Trust us: REALLY check out the presence control to unleash the hidden secrets of the UBERSCHALL. The "Midrange" control is very interactive with all the other tone controls, you can go from a hollow scooped-mid setting to an aggressive in your face and on your throat kind of intensity. The "Bass" control allows almost a sub-harmonic low-end to be added, at high volumes be sure to keep the bass down a bit to keep your tone focused like a laser beam" ----------------------------------------------------------------------------------------------------------------------- 2001 Mesa Boogie Dual Rectifier Solo [CALI RECTIFIRE] Mesa/Boogie almost single-handedly, and simultaneously, established the custom amp (aka boutique) and high-gain crazes in the early 70s, and has continued to set the pace for nearly four decades. As the new standard for grunge and alt-rock amplification, the Dual Rectifier pushed this pedigree forward to the new millennium, and its high-gain third channel established the tone to beat for the 90s and early 00s guitar rock. With broad control over its drive and level, and a versatile tone stack, it can go from thundering, scooped crunch to soaring lead tones with a creamy midrange, all with crushing volume and authority. Others have come and gone, but the Dual Rectifier continues to earn its place on the big stage, and to exert its authority over lesser amplification efforts. Class AB, 6L6. Modern setting. Amp Model is based on* a 2001 3 Channel Mesa/Boogie Dual Rectifier Solo Head. The Dual Rectifier was part of Boogie's more modern, high gain approach for that "big hair" sound. In contrast to the earlier Boogies, the Dual Rectifier's tone controls have more influence at high gain settings, so you can scoop the mids and increase the bottom end. We used Channel 3 on the Modern setting for this one with the rear switches set to Bold and Tube Rectifier, respectively. Tips: Real Rectos are bassy/fizzy beasts but that tone works great for certain genres This is based on the Modern mode, so be very careful with the Master parameter. If you turn it up too high it will flub out really quick. If in doubt reduce the MV (because there is no negative feedback, the power amp has a lot more gain and a huge bass boost). --------------------------------------------------------------------------------------------------------------------- 2009 ENGL Fireball 100 [ANGL Meteor] Mid boost Great for aggressive, drop-tuned riff work, Based on* 2009 ENGL Fireball 100 (German) Designed to redefine the stereotypicalshred sound and dial in a more musical lower-midrange and bass response, the ENGL Fireball 100 has become one of the new standards of contemporary rock and metal. Using a quad of 6L6 output tubes for mammoth lows and gut-thumping punch, and four 12AX7 preamp tubes for scorched-earth gain levels, the Fireball 100 nevertheless brings great refinement and articulation to this aggressive genre, boasts surprising versatility, and has earned its keep in the rigs of several cutting-edge shredmeisters (Ritchie Blackmore, Steve Morse). Tips: Since the Treble and Presence control knobs sweep through different frequency ranges and influence the signal at different places in the amp's internal signal chain, you can dial in different combinations of treble and presence settings to come up with many interesting sonic variations. ------------------------------------------------------------------------------------------------------------------------ '93 Soldano SLO-100 [sOLO LEAD] Noted for its hot-rod chrome chassis and aggressive rhythm tone. Normal (Clean / Crunch) and snarling Lead channel,100w, 6L6 tubes. Now considered a modern American classic, have made it the heart and soul of many of Rock, Metal, and Electric Blues, Mike Soldano created his flagship Super Lead Overdrive 100 (SLO-100) amplifier in 1987 and continues to hand-build it to this day. The SLO-100 was made an instant hit by early adopters Eric Clapton and Mark Knopfler, and used by a range of players, including Warren DeMartini, Warren Haynes, Lou Reed, and Eddie Van Halen. Much of the love for the SLO-100 is due to not only its juicy high gain tones, but also its clean and crunchy capabilities, making it an extremely versatile head. The SLO-100 features two channels, Normal and Overdrive, with a Clean / Crunch gain switch on the Normal channel. We loved the different characteristics of this amp so much that we created three separate models! Solo Lead Clean: This model of the Normal channel switched to Clean provides the most headroom and a variety of warm to shimmery clean tones. Solo Lead Crunch: Here we've modeled the Normal channel switched to Crunch, which is superb for a range of distorted textures from polite to aggressive. Solo Lead Overdrive: A model of the Overdrive channel with some seriously tight bottom chunk to liquid, screaming lead capabilities. Mike Soldano first came to fame as the guy who could do all the really cool mods to your Marshall. It wasn't long before he started building his own 'hot-rod' amps ” sporting chromed transformers and chassis, no less. Mike's amps are also famous for their bullet-proof construction and military spec wiring and components. While primarily known for its high gain personality, the SLO-100 has a great clean tone as well. Eric Clapton put Soldano on the map when he played "Saturday Night Live" with his Soldano SLO-100. Tips: Those amps are all designed to get their character from power amp distortion. If you don't push the power amp all you are hearing is the preamp which is voiced to be trebly. The power amp then compresses the highs and the sound gets fatter. Many people find SLOs too bright. It was designed as a large stage/stadium amp. Running one at your local pub is going to give results that are very thin and buzzy, best tones achieved by increasing the master and backing off the preamp, just like the real deal. The key to an SLO100 is to run the MV high so that the mids thicken up. Otherwise it's a shrill mess. In certain contexts with the right IR it can be a cool sound. Rectifier preamp is a derivative of the SLO-100. Many times the knobs aren't "centered". If you put the Treble knob at noon it isn't actually at 50%, in the case of an SLO100 it is intentional. On an SLO100 all the way down is around 8:00 and all the way up is 6:00 so 50% is around 1:00 not noon." ------------------------------------------------------------------------------------------------------------------------ '60s Ampeg B-15NF Portaflex [ before called Tuckn' Go, but now Ampeg B-15NF ] -Bass Amp (no mid, no presence, no master) Get sweet and lowdown with this model of the honorable 60s Ampeg B-15F bass amp, complete with the Custom Design, CTS 15 inch speaker. The unique Portaflex design consisted of the tube amps electronics being mounted on a chassis that flipped over (hence our nifty model name) to secure as part of the speaker cabinet, intended to offer the portability of a combo, without the over-heating and rattling problems associated with combo amps of the period. Ampeg founder Everett Hull was not a fan of Rock n Roll music, and thus conservatively rated this amp at 30 watts, to encourage its users to keep the volume at sensible levels to avoid distortion. But we think this versatile low-ender sounds just as great turned up for some throaty growl. All-valve bass - 25W RMS , speaker 1 x 15" custom Eminence, preamp 3 x 12AX7, rectifier 1 x 5AR4 or 5U4G, power amp 2 x 6L6GC Its tuned and front-ported, has a closed back, is 25 watts with a single 15-inch speaker, and set a new standard for cabinet and speaker efficiency, tone and convenience in bass amplification. If we had to sum up the amps sound up in one sentence, we would simply say: Listen to James Jamersons bass playing on the Motown/Tamala records of the 1960s ” The Supremes, The Four Tops, The Temptations, Marvin Gaye, Stevie Wonder, and many more. Jamerson played bass on more Motown hits than anyone else, and his choice for amplification was the Ampeg B-15. We think you'll agree that the sound of his P Bass through that amp on those records is as fresh and exciting today as it was 35 years ago. And if he's not enough to convince you, how about Duck Dunn! Don't get us started.... ----------------------------------------------------------------------------------------------------------------------- Line 6 Elektrik This high-voltage, face-melting original has interactive presence & mid-range controls, with more gain than you can shake a stick at. It has something from the first Bomber Uber. ----------------------------------------------------------------------------------------------------------------------- Line 6 Epic A metal-freindly beast that provides sustain for days at virtually any playing dynamic, giving up gobs of distortion with ease. We did it in small doses throughout the length of the preamp. It's based on the Soldano lead channel, but with more gain and a smoother transition into clipping on all the gain stages. This means that as sustained notes decay they don't "fall out" of distortion. It's unrealistically smooth. This is why players will still put an overdrive in front of a high gain amp; to get that kind of "liquid lead" sound. ----------------------------------------------------------------------------------------------------------------------- Line 6 Doom Heres a hybrid to fill a void for doom/sludge players. It's a JCM800 preamp going into a Hiwatt power amp with some additional tweaks, to give you large amounts of gain and a rich, sag-induced reaction with a whole lot of bass. -----------------------------------------------------------------------------------------------------------------------1 point
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There is this guy who makes IRs (7 guitar cabs pack available for download) from original sound track (mainly metal band): https://www.youtube.com/playlist?list=PLNsITtzHwH2iRyaoEAqS9sg5WckfPp8CR I tried the Metallica and System of Down ones, they sounds great. He also explain how to create them with a DAW and some other VST pluggins on his Youtube channel https://www.youtube.com/watch?v=Q1nNAQL_6mQ Based on his explanation, I was able to make my first IR, of the Nirvana song's Breed with these tools: DAW Presonus Studio One, (I'm using Pro version, but there is a free one avail. (http://https://shop.presonus.com/products/studio-one-prods/Studio-One-3-Prime) Voxenco Deconvolver app (http://www.voxengo.com/product/deconvolver/) Voxengo Curve EQ (http://www.voxengo.com/product/curveeq/) and Helix for reamping (instead of TSE 808 / TSE X30 VST pluggins as suggested in his video)1 point
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