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  1. 15 points
    Just made this, free for everyone who likes it, enjoy it.
  2. 8 points
    Gold Dust Woman, for the life of me just can't remember the progressions so a Verse and Chorus button. Forces me to look down when I hit the switch. And looking at the signal path constantly is kind of silly hence the Song Notes mode for the screen or add another screen somewhere with the next generation. My failing memory...might as well get some use out of it and offer a new feature.
  3. 7 points
    Will there be a forum specific for HX Effects? - that would be a great help for HX Effects users. BR Lasse
  4. 7 points
    Embedded programmer and software test engineer here. Since you seem to prefer voicing your opinion in a very direct way, I'll do so too: This crap is becoming tiring. You seem to have zero insight into software development, yet you come here and know exactly what the developers at Line 6 are doing wrong because... Yes, why actually? As an attempt of explanation: Resources are limited. The main resource in this case is the time a team of developers has in total. This time can be spent on concepts, architecture design, implementation design, implementation itself, testing, debugging, maintaining and many other tasks. Developing for a real time embedded system like the Helix isn't like clicking on a few icons in an Android App Maker to build the 16931st whoopee cushion soundboard for the Play Store. These projects eat a ton of time in every stage from concept over implementation to maintenance. Almost everything has to be optimized because any code that is inefficient would result in an audible delay, every bit of wrong code would distort the sound in various ways. This is one aspect. The other is what amsdenj mentioned: Technical debt. It's a term for tasks and unsolved problems that have accumulated over the development of a component or a product, basically a To-Do-List. This list has to be tackled someday if you want to keep your product in the market. If you look at the changelog for the 2.7 update, it's a lot of those minor annoyances that may be major ones in the wrong setting, like polarity/phase issues and amps that become quiet. The third aspect is that we are not talking about a single device here. Helix is a platform with by now a whole set of different hardware devices and a software plug-in. "Platform" doesn't equal "I write a line of code and it works everywhere". It once again may have to be optimized and it has to be tested. And no, testing isn't plugging in a guitar, checking if there's sound and if so, ship it. If that was the case, we wouldn't have to fix bugs at all. Look around in the forum. For over one year there have been complaints about the tuner, including lengthy posts, heated discussions, YouTube side-by-side comparisons with other tuners, people testing it with different instruments and what not. I play bass and have had very few issues with the tuner, but it seems to be a problem for many users. What did Line 6 do here? They addressed a complaint. Isn't that what you wanted? No, you're one of those people that not only buy a product and then somehow feel entitled to get something they want, you also have the impudence of putting yourself above a department full of most likely very experienced software engineers, programmers and projects leads saying "They're all idiots because they can't do more.". I recommend you get yourself a SHARC evaluation board, a matching C++ IDE and start writing your own DSP accelerated real time sound processing pipeline. Then you can use all your insight to add amp models, fix bugs, walk and chew bubble gum every day.
  5. 7 points
    Hi Made an update of my Cheat Sheet, Line6 Helix Model Summary, if anyone are intereted. All up to date with 2.50 update and all amps, cabs, mics and effects are in order of appearance on the unite. Some corrections are also made, if someone down loaded the previus version. Unfortunately, there will be one more page as there are just too many amps and effects in the unit :-) Or, there is now room for more... I still want to keep the sheet readable, so have kept the font size the same. Download from my dropbox - https://www.dropbox.com/s/e2jsnnqwscr6iml/Line6 Helix-Model Summary%2C 2%2C50-P1.0-01.pdf?dl=0 Have fun //Per
  6. 6 points
    Well there's no way to quantify it, so it's impossible to prove one way or the other...but as far as I'm concerned, most subtle differences in tone that one perceives from one day to the next (no matter what kind of gear you're using) are exactly that...perception. Hearing is imperfect, and how we interpret sound can be influenced by any one of a thousand things, from the mood you're in, to how much sleep you got last night. I used analog gear for a million years...the way it behaves on Wednesday is pretty much the same as it behaved on Tuesday. If it sounds different, it's in your head. Regardless, you couldn't pay me to use such a "feature" if they added it to Helix. I don't want "wandering tone". Half the point of having gear like this is consistency. I want my patches to sound the same when I call them up....that's why I hit "save".
  7. 5 points
    For anyone who wants his variax to be more accurate: https://www.vguitarforums.com/smf/index.php?topic=24065.0
  8. 5 points
    Because, why not? Here's mine: The underside: It's a Pedaltrain Novo 24. I have all the pedals on the top going through the Loop Expander and that's in one of the HX Effect's FX Loops. Those pedals are in turn controlled by MIDI (the Meris pedals get MIDI through the little Meris MIDI I/O on the right). Everything is powered by two Strymon Ojais.
  9. 5 points
    I've been piping pink noise through the Helix Native mic+cab sims to learn more about them. I don't care at all about what the real units sound like, just about how they shape the sound. This is what I've seen so far: For pretty much any mic, increasing the Distance parameter causes some boosts and cuts in the mids, the frequencies of which which seem to depend on the cab. For instance, on the 4x12 WhoWatt 100, increasing distance significantly cuts 1.2KHz, whatever mic you use. In fact almost all cabs see cuts around the 1-1.5KHz range, with the 4-speaker cabs showing the biggest effects. On top of that, for pretty much any mic+cab, increasing the Distance parameter causes a low roll-off typically of between 6 and 12dB, and a small high-end cut, and a more gentle output decrease across the board. A couple of cabs also see small boosts in the mids, like the 1x12 Celest 12H. I don't think the proximity effect is being modelled because the low end reduction doesn't seem significantly different across the mics. Increasing the Early Reflections parameter causes a broad but small boost in the 300-500Hz range. I didn't measure to see if there was any actual reverberation/delay effect included. By averaging the response across all the mics for a given cab you can get a good feel for its 'signature'. For example, the 4x12 Greenback has a slight boost in the low mids, then a pretty smooth roll-off as the frequency goes up, except for a big boost between 2K and 6K. Good for taming the treble of high-gain, while letting it cut through at the same time. By comparison the 1x12 US Deluxe is almost flat right up to that 2K mark, falls off at 5K, but with a characteristic spike around 12.6K (probably now inaudible to anyone who played through the speaker when it first came out!) And the 2x12 Jazz Rivet is also pretty flat, with a smooth but steep rolloff after 5K, punctuated by a sharp notch at 6.6K. ...and so on. If, like me, you know nothing about the cabs and don't have a specific sound you're going for, it's definitely worth trying some different ones to make sure their particular brand of cuts and boosts fit your material. Arguably the flattest response, with otherwise 'default' settings, is the 2x12 Double C12N, with Distance at 1", and using the 67 Condenser mic. If you want a fairly neutral starting point, I recommend this. For the most low-end, the 4038 Ribbon mic is the one to consider, followed by the other ribbons. For the most high-end, the 421 Dynamic, closely followed by the 112 Dynamic, seem to be the best choices of mic, which seems to tally with the real-life frequency response charts. The 12 Dynamic mic has a significant boost around 700Hz, and which strangely isn't present in the frequency response diagram for the real life equivalent. Might be good for helping leads cut through the mix though.
  10. 5 points
    The pattern is, about 3 - 6 months after any update there is a "when's the next update" rumble on the forums. It kind of comes and goes like the tide for awhile UNTIL the "I heard there's one coming shortly" rumors. Then comes the what they should and shouldn't include along with the "this is what I heard" and "it should be coming come out......" speculation. That whole noise floor keeps rising and rising along with the "what's taking so long" posts until people start to think they can't take all of this waiting anymore. Now a couple of "I'm a beta tester and we're still testing" posts.........THEN!!!!!!..............the update finally comes. At this point the "it's been two hours where's the next update" jokes (often from yours truly) and the "great work Line 6" posts start along with the "this sucks", "why didn't they...", "well you suck if you think this sucks", "well you suck if you don't think this sucks", "are there any new factory patches?" etc. etc. posts. Finally it settles down until about 3-6 months after that. Go back to start. Did I miss anything? Oh....you mean Line 6? No there's no pattern really other than a semi official "we're close" post about a week or two before it finally comes out.
  11. 5 points
    Pete Thorn can play, and I'm sure he's an all around swell guy. However, I think... strike that...I know that reality is VERY unlikely to live up to your expectations. Trying to use patches created by somebody else, no matter who (or how wonderful) they are, is mostly an exercise in futility. You will always always end up having to tweak them to the rest of your rig, guitar(s), needs, playing style, etc. etc. Even if they were free (which they wouldn't be if L6 is cutting the guy a check), you're still chasing your tail. And yes, to confirm my suspicions I've tried (repeatedly) a bunch of downloaded patches...some free, some not... including some of the most talked about ones around here. The free ones were a waste of time, and the paid ones were a waste of money.... so I don't bother anymore. Mine work because I made them with my guitars, monitors, headphones, PA, etc... and all at the volumes at which I intend to use them. When all of those other factors are a complete mystery, and Helix the only common denominator, you're pi$$ing in the wind.
  12. 5 points
  13. 5 points
    At the risk of sounding like a broken record, Helix was designed to act as the centerpiece of one's rig; it was not designed to replace every component in someone's rig. If a formant filter is mission crucial, we've provided multiple ways to incorporate it into Helix's signal flow.
  14. 5 points
    The main difference between modelers in this range is the proficiency of the person using it to able to precisely dial in the tones he wants. Technically both will do whatever you want. You just have to know what you're dong and know how you want to set your rig up to get the sound you want. Neither of them is simply plug in and play. Both require you to be knowledgeable about how to build a signal chain. If you know what you're doing both will sound great. If you don't know what you're doing both will sound bad.
  15. 5 points
    Wow...BS overload, I nearly passed out. ;) Descriptions are lovely and all, but beyond providing reading material while I'm sitting on the can, what am I supposed to glean from any of that nonsense? At the end of the day, " resplendent, unearthly ambience" and "majestic splendor" that "obscures the distinction between reality and fantasy" conveys what, exactly? Flowery vocabulary contributes nothing to any genuine understanding of what a given reverb (or anything else, for that matter) will actually sound like, to say nothing of whether or not it will be pleasing to the ear, or useful for one's needs...only LISTENING to it will determine that. Using that many words to say nothing is worthy of a wine enthusiast blog...I can read about the "woody, complex, rounded, and velvety nose" of Chateaux Rain Gutter all day long...but if I want to know what it tastes like, I'll actually have to buy a bottle and take a swig.
  16. 4 points
    I know how you feel, brother. When I was but a lad on the precipice of adolescence, I came up with the idea that male and female organs might actually fit together somehow. Now all kinds of people are doing that and not one. single. person. has thanked me for the original concept. On a less ludicrous note, I've chased after these a-holes selling paid for presets for quite a while now. They site-rip Custom Tone, buy producers' monetized tones, and then sell them on eBay. Every time I see one of them advertise in threads I ask the direct questions (never answered). With respect to people all butt-hurt because their uploads are used as templates for other tones, that is what they are there for. It's crowd-sourced content. Get over yourself or start charging for your stuff. Frikkin' cry babies.
  17. 4 points
    Agreed! Some of the guitar cabs are far better than many bass cabs... for bass use! One important trick for me is to avoid the use of certain mics (57 Dyn cuts lows!). In my experience, a close (1'') 414 Cond or 121 Ribbon give me the best results. If some cab is too dark, then the 47 Cond helps (this is what comes with the SVT by default). Then the 4038 Ribbon boosts lows too much, it is useful sometimes, but I am not sure if there is the need to boost lows when there are so many cabs that work well. Avoiding medium distance "57 Dyn" is what makes MANY guitar cabs usable for me. My favorites bass cabs (Forgive comments in "Spanglish"): Also "No cab" works really well for me. With some EQ to tame and "voice" high frequencies, but totally transparent with lows. It avoids phasing issues. We bass players have enough with our "FRFR" cabs, they are not that "transparent" in the lows, so there is no need to make the problem twice as bad. I have certain theory why some "good" or "professional" or "thoroughly recorded" cab models are not so great with the Helix or any other modeller. Their responses are anything but "tight". 1x18 Woody Blue may sound good with headphones, but I doubt it is good with the full band and using any practical real cab in stage with the full band at high volume. To me it sounds really BAD. I can understand why some bass multi effect users are enthusiastic with their presets tuned with headphones without a band and then in the first rehearsal the band tell them "This is for guitars, your old bass amp sounded way better". ================== About the blend: Some overdrives / distortion have. And this is great because this avoids certain subtle problems that appear when using parallel paths. The problem with parallels paths (besides being very limited in number) has to do with phasing issues, they are different for each amplifier or overdrive. These issues are far worse in bass than in guitar. I know that this topic can be very controversial. Some ODs don't have a blend control, but they work at low / moderate gains "as if" they had a clean parallel path. If you play bass I recommend to try Teemah! for this reason. Teemah! and Obsidian 7000 are my favorite dirts. I have a preset that is simply Teemah! plus an EQ (instead of cab) plus effects, this is one of my favorites with the band. Because it is "rich enough" but "TIGHT". And I need my bass to sound very tight in many songs / band situations. Next in my "OD" list are 3 bass amps (SV Beast and Tuck'n'Go) and then Clawthorn Drive. There are many usable blocks to create OD / Distortion, some are bass amps, some are guitar amps. IME many of them are totally unusable for bass. But there are some surprises, for example the LEGACY heavy distortion (this one requires a parallel path). Or the Tube Screamer emulation is too "treebly", but does not CUT bass, so it admits EQ to restore bass... and does not require a parallel path! (it works better in a band context this way). I really would like to add a blend control in overdrives and distortions. Now I know it is not trivial to add if done properly. Hope it helps.
  18. 4 points
    No, not enough with the high gain. Enough with the Marshalls. We could still use more high gain options.
  19. 4 points
    This is why I'm so supportive of people like Jason Sadites in that a person is FAR more likely to benefit from his video tutorials on YouTube for getting a great sounding preset to meet their needs than they are to expect any preset they purchase or download to be instantly useable for their configuration.
  20. 4 points
  21. 4 points
    They could call that the cork sniffer tone variation switch!!!!!
  22. 4 points
    According to Frank Ritchotte on Facebook, they're aiming for next Monday now. I think there was a nasty bug they found late in the process. It happens, unfortunately. They've had several release candidates... I guess that's why they test stuff.
  23. 4 points
    So I'm stuck here waiting with a lot of time on my hands. I was making this list for myself and realized others may be interested. I looked through some posts and made a list of the FRFR's that people say they are using. I also included a list of 12" speakers people are using to replace their guitar amp/cab speakers that are supposed to have a more flat frequency response. A few people have built their own FRFR's and I didn't include those nor whatever actual guitar amps people are using. As you can see, products websites were included as well. I was surprised by how few showed up in my research which is by no means conclusive and only reflects what I found on this forum. Anyway, here they are. FRFR Mission Gemini 2 $1,499.00 https://missionengineering.com/shop-2/products/amplifier/gemini-2/?v=7516fd43adaa QSC K8-2 $649.99 https://www.qsc.com/live-sound/products/loudspeakers/powered-loudspeakers/qsc-k2-seriestm-new/k82/ Headrush 112 $299.00 http://www.headrushfx.com/products/frfr-112 Alto TS-212 $299.00, TS-310 $249.00, TS-312 $299.00 https://www.altoproaudio.com/products/ts210; https://www.altoproaudio.com/products/ts212; https://www.altoproaudio.com/products/ts310; https://www.altoproaudio.com/products/ts312 I wasn't going to include "reviews" but there are a lot of bad reviews for the TS-212. A lot of "I used to use them but got something that sounds better". YMMV. I personally have never tried them. The Headrush 112 and the Alto TS-212, 312 look identical but there is a difference. According to Headrush/Alto - "As mentioned in my previous email, The FRFR 112 is a full range/ flat freq response, ideal for monitoring and does not have any preamp built inside for microphone usage compared to the TS series from alto professional. That would be the difference between the two items´╗┐." The difference bertween the, 212 and 310,312 is power. The 212 is 1100 watts. 310, 312 are 2000 watts. Line 6 Powercab 112 $599.99 Powercab 112 Plus $799.99 https://line6.com/powercab/ Line 6 L2T $849.99 L3T $999.99 https://line6.com/speakers/ Line 6 Firehawk 1500 $799.99 https://line6.com/firehawk/ XiTone Michael Britt $959.00 https://xitonecabs.com/product/mbritt/ Mackie SRM 450v3 $499.99 http://mackie.com/products/srm-portable Yamaha DXR-10 $599.99 https://usa.yamaha.com/products/proaudio/speakers/dxr/index.html Bose L1 $849.00 https://www.bose.com/en_us/products/speakers/portable_pa_speakers/l1-compact-system.html Bose S1 Pro $599.00 https://www.bose.com/en_us/products/speakers/portable_pa_speakers/s1_pro_system.html?gclid=EAIaIQobChMIudPX24XE2wIVWbbACh25EQ0CEAAYAiAAEgIHKfD_BwE&gclsrc=aw.ds Aspen Pittman Center Point Stereo Spacestation V.3 $879.00, Spacestation XL $1549.00 http://aspenpittmandesigns.com/spacestation-v3/; http://aspenpittmandesigns.com/spacestation-xl/ Yorkville YX10P $389.00, NX750P-2 $1019.00 http://yorkville.com/loudspeakers/yx/product/yx10p/; http://yorkville.com/loudspeakers/nx/product/nx750p-2/ Peavey PVX12p $399.99 https://peavey.com/products/index.cfm/item/665/118109 Electrovoice ETX12P $1,199.00, ETX10P $1,099.00 https://www.electrovoice.com/product.php?id=2583; https://www.electrovoice.com/product.php?id=2591 Barefaced Bass FR800 $1,199.00 (This was suggested for bass. Yeah I know. DUH!) https://barefacedbass.com/product-range/FR800.htm JBL EON610 $399.00 http://www.jblpro.com/www/products/portable-market/eon600-series/eon610#.WxpwWrifY38 JBL EON615 $499.00 http://www.jblpro.com/www/products/portable-market/eon600-series/eon615#.Wyjz-rifY38 RCF Art 310-A MK4 $499.00 https://www.rcf.it/en_US/products/product-detail/art-310-a-mk4/210051 Speakers Faital Pro 12HX230 $Unknown probably around $250.00 http://www.faitalpro.com/en/products/Coaxial_Loudspeakers/product_details/index.php?id=351050010 Eminence BETA-12CX $74.99 https://www.eminence.com/speakers/speaker-detail/?model=Beta_12CX Eminece BETA-12LTA $74.99 http://www.eminence.com/speakers/speaker-detail/?model=Beta_12LTA Celestion K12H-200TC $90.00 https://celestion.com/product/138/k12h200tc/
  24. 4 points
    Glitz=Big Sky Bloom Ganymede=RV6 Modulated Searchlights=Big Sky Cloud Double Tank=Big Sky Plate Mod Plateaux=Big Sky Shimmer
  25. 4 points
    A question: where do I click for common FAQs and basic information?
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