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  1. 2 points
    There have been many updates and improvements to the POD HD since its initial release. You can anticipate a great sound but you will find you need to invest more time in learning how to create those sounds. The XT/X3 can sound good with minimal effort. The HD can sound much better but needs more work to get there.
  2. 2 points
    Any DAW plugin or Helix block has a sweet spot for its input. If you drive the block outside this sweet spot, it might function fine, but its effects might not be optimal for typical settings. If you drive the block too hard, it might introduce unintended distortion. This is particularly true of many Helix effect blocks like the Leslie blocks, that were designed for front of the amp use with guitar input levels, but are often used after the amp in Helix signal chains. We don’t know the input levels the blocks were designed for, so finding the sweet spot would take some experimenting. And of course under or over driving the block could produce exactly the sound you’re looking for, optimized or not. But I find keeping each block close to unity gain is a good safe starting point, and provides a simple way of normalizing patch volumes. It also provides more predictable results if you copy a block to other presets to reuse its settings - the expected input and output levels will be consistent. If you keep all blocks unity gain, and send the full XLR output to FOH, you’ll be sending a typical signal level that won’t result in any surprises at the mixing board. I use a DAW to set the block to unity gain by adjusting so the level is close to the same when the block is on or bypassed. But you can do this close enough by just listening. A few dB isn’t going to make much difference. This will result in a pretty low level output from Helix. I keep my Powercab+ volume maxed out, and run Helix master (digital) output around 1-3 o-clock. This gives all the stage volume I need. I like the low output from Helix because this helps make sure there’s no potential for digital clipping at the A2D or D2A converters.
  3. 2 points
    Why won't it? Plug the 1/4" outputs to the inputs on the back of the Apollo.... if it clips, turn down the output of the stomp, or turn down the input on the Apollo until the clipping stops. There is no reason it won't sound great! If you are going to the computer with the Apollo... it IS the digital conversion. IMO: Don't complicate matters with a pointless digital device in the chain... just hook it up as I suggest above and let the Apollo do the conversion. You bought a device without a SPDIF out... that means you have to use the 1/4" outs. It's not a big deal, and it will sound just as good once you get the input levels set. The only real difference is that you can't take advantage of the SPDIF input on your Apollo. Keep in mind the STOMP is also an audio interface of it's own. If you want to record the guitar completely in the digital realm the only way is to go direct from the stomp to the computer via USB.
  4. 2 points
    Some things that I'm surprised no one's really about talked are: 1. moving air and cabinet/speaker resonance. We guitar players, especially those who are used to playing real amps and cabs (both above and at bedroom volume) are used to hearing the speaker and cab vibrate and move, which is part of the sound. While Helix is supposed to emulate some of this, it's not the same. Even an FRFR will move air and vibrate, and its cabinet will affect the tone. Maybe part of the reason you're wanting to turn up (aside from the really good points about low pass filters) is that you don't hear or feel that speaker/cab relationship and movement going on. I would suggest you reconsider using something like a small guitar cab or monitors. Once you figure out their frequency response, they might actually sound better than really big, powerful, L3Ms. You can make them move and resonate much easier at sensible volumes. Love the colors of your studio, but just looking at those L3Ms angled in towards your ears made my ears hurt through my laptop screen! It's just overkill... It's like trying to use a 100w, 4x12 Engl or something - 6ft away and angled at your ears - and then saying you can't make it sound good unless you turn it up too much. That's what it's designed for... You aren't using it for its designed purpose. That's why "lunchbox" amps and small cabs are so popular. They get "that sound" before ear-bleeding SPL. Those L3Ms would be great for live use, but studio, home, and live use are all different. There's a reason tracking rooms are big and separated from recording rooms in good studios. Can't normally get great sounds with really quiet amps... So to protect everyone and really hear what's going on in the mix, you turn it up then move out of the room when tracking. So I'd say to go try studio monitors again. Go try them out at a good pro audio store before you buy. Look at the manufacturers' frequency charts and compare them to the L3Ms. Do you really want FRFR, or do you want the sound of an amp coming through a cab? You could also consider getting a (small) guitar cab and taking the cab emulation out of your presets. You might find that tickles your pickle more easily. More importantly, what is it you like and don't like about the sound from the L3Ms? What does "full bodied" mean to you? That's the real question to answer. Might be this next point... 2. It always sounds better when it's louder. You can google this (try the "equal loudness" measurements first), but the psychoacoustic properties of our brains, ears, and heads perceive louder sounds to be more pleasing or "better". This is often due to a perceived lack of bass and treble in quieter sounds. But this doesn't mean the sound is any different than at lower volumes, it is just heard differently. Keep that in mind... I've been around a lot of gunfire and explosions, and I was the only one who wore custom-fit hearing protection. Although I have some ringing, I kept my hearing. Don't f**k with your hearing. The point is to enjoy music for your whole life, not just part of it and sit in silence when you're old. I'd rather have my eyes plucked out by pigmy zombies than lose my hearing. Experiencing music is more important than the best tone at home, I don't care what anyone says (and I produce my own music and have played guitar for almost 20 years). Turning it up would not have been my first thought if it didn't sound good. Nor would buying a PC+... Delving into the Helix settings would be the first answer, I think, and really figuring out what I am not hearing that I want to hear. Remember... It always sounds better when it's louder. Catch 22. Sorry for the monologue. :D
  5. 2 points
    Something I haven’t really spent much time doing - I did today. Starting with my morning coffee and ending up with my afternoon beers, I played the Helix through my lone surviving tube amp (having sold everything else this year). Guitar > Helix > Amp, and 2 nice cables. Man what fun! I don’t think I was ever concerned or aware if the Helix (as a unit) is true bypass - but it sure seems to be - or very darn close. So now I have some nice new “pedal board patches” for my old school buddies that still want an amp in the room. No big thing, it just started out with me plugging my Tele straight into my old MusicMan and it evolved from there.
  6. 2 points
    I'm not super familiar with the AC15, but that amp doesn't have an FX loop, right? If that's the case, think of the "preamp" only amp models as glorified dirt boxes and try them out into the front end set pretty clean. Don't use cab modeling (at least until you're comfortable with how everything works) into a regular guitar amp/speaker set up. To get the most out of the cab/full amp model features something like a pair of studio monitors or a small powered PA speaker are the way to go for amplification. The most important thing to remember if you start messing around with amp/cab modeling is that a monitor/PA speaker is not meant to sound like your amp sitting in the room with you. It's supposed to sound like whatever amp model and cab model you've selected has been set-up and mic'ed in an isolation room at a studio and you're in the control room listening back. If you keep that in mind you might be pleasantly surprised with the quality of sounds you can get out of a "full modeling" rig. Edit: not sure what your budget actually is, but Alto/Headrush make a nice little monitor.
  7. 2 points
    These are probably the two most important factors for live performance, for me anyways. That first bold section is where a lot guys tend to fall off with the modelers because they really, really like the idea of showing up with just a Helix backpack and 30# PA speaker, but they fail to grasp that that type of setup is never going to FEEL like a 100W tube head into a 4x12, no matter how good your IR is, how you adjust settings, etc. I've seen that get really frustrating online and IRL for people. I've seen guys just about have a meltdown because they were asked to turn their tube amp/dual 4x12 rig down in a club that a 2x12 would get obnoxiously loud in. I write music for myself, I perform music for an audience. If the audience isn't having an enjoyable time because I need to be peeling paint with a full stack to play guitar "properly", I should just stay in the basement.
  8. 2 points
    Observation of the pro FOH guy - comparing two things in a way that aren't exactly the same is no real comparison at all. Mic for tube amp vs. direct Axe vs. DI use vs. inability to mix or EQ for a particular purpose - WTF? So, yes they will all be different, and some will be "better" - lack of bees for a particular model, etc. Next - to each his/her own. Some might think the swarm of bees is how that Marshall should sound and like it. Yep, hundreds of people asking how to EQ, route, model, etc. No forum specifically for the Mashall JCM800 - except for the different tubes used, when should they be replaced with what brand, cap replacement, addition/subtraction of MV, fx loops, etc....well, I guess it's the same as well...turns out there is a forum for that stuff. Been drifting slowly away from tubes for years, discovered it was more a psychological thing for me personally. I would love a multi-amp, Marshall/Mesa/Bogner/Fender stage setup controlled by a tech sitting in a cockpit that resembles the space shuttle, while I lean back and wank 164th notes, drawing crowds of people to my brilliance. Does it sound better than my current Helix setup? No definition for "better" available, so can't say because all of the possible contexts and output configurations are different - but I have tried something similar, been through dozens of different tube/digital/hybrid setups. I know either rig sounds better than me if Andy Timmons would be using either one . Unlike Andy (maybe even he can't do this), I've got no tech, no access to use and continually mix and match all that gear, and no professional muscle to cart and setup/tear down all that stuff. If I did? Maybe I'd want the semi full of gear, maybe not...I really don't think so. Funny little story - talking to a local player at a bar, really skillful guy, get's a variety of great sounds on stage with his 3-piece band - ZZ Top to Stevie Ray to Mettalica. Plays a floor Boss unit into the front of a gorgeous old Fender combo. Told me he dislikes the modelers because they never sound quite right to him - while he pushes a digital signal into a clean tube amp, nowhere near loud enough to push the tubes into showing their personality. We're all a little nutty is the final answer, to each our own little nutty selves. Helix rocks, but so does...well, some of the other stuff (this is the Line 6 forum, not the Marshall Amp Forum). I likes me some Helix, along with some other gear. It's (or I'm) a tool, so there you go.
  9. 2 points
    As of the OP of this post, yeah thanks everyone. This was a great discussion and I learned alot. Thanks for not descending into the bowels of the internet!
  10. 2 points
    An acoustic problem can't be solved with more/different gear if the real issue is a lack of understanding about what's going on. Acoustic physics and the Fletcher-Munson curve don't change based on what kind of rig you have. The room you're standing in doesn't care if you have a Marshall stack or a Helix, and your brain will interpret the relative loudness of different frequency ranges the same way every time, no matter what the source of that sound is. And there's only so many things to adjust. If you're hearing mud, there's too much bass...pull it back. If it's screeching at you like nails on a chalkboard, trim the highs. If it sounds full and balanced by itself but disappears in a mix, then you need a mid boost. I played tube rigs with a 4x12 cab for a couple of decades, and it was the exact same drill... if there's too much of something, get rid of it. Not enough of something else? Boost it. Lather, rinse, repeat...
  11. 2 points
    While I am a moderator I think I will leave the decision on where this post belongs to Line 6 because I think it falls in a grey area. The title of this area is Promote Your Patches and that's what I think you're doing. However, I believe this area is intended to be a space where people can promote the patches they are selling rather than offering for free. Since yours are being offered for free there's nothing against you placing this post in the general Helix forum. The other promoters here can't do that under the Terms of Use, which is why this special place was created. Your post might also get more visibility in the general forum because people visiting here expect to be paying. Anyone looking for free stuff may not come here. In in any case your generosity is appreciated.
  12. 1 point
    In case you missed this on the Helix page- I re-posted what I wrote there for reference. "I know this is an old thread, and I have followed the instructions to the letter. What's happening is on "both PC+'s, when I plug in the midi cable to the input they freeze up and will not clear until I pull the midi cable and then power cycle the PC+. Yes, I have swapped midi cables, same results. If it's not the cable, and I don't believe that two PC+'s have the exact same issue, and the midi port on Helix was running the Strymon midi just fine, what the heck is going on? I'm scratching the 4 hairs on my head here. Anyone?" Edited: I Figured it out. In Globals, if you have "Send Midi Clock" set to anything but off, as soon as you plug in the midi cable into the PC+ it locks it up, and the only way to unfreeze it I found was to remove the midi cable from the PC+ and power it off and back on. Now, if I can figure out how to make Powercab Edit work with "two" PC+'s at the same time? Both PC+'s are set to different midi channels, but it only seems to like one PC+ at a time.
  13. 1 point
  14. 1 point
    I'm just a Reaper guy. Does Ableton offer a lot of things Reaper doesn't over all?
  15. 1 point
    Once more I have to agree with everything you say and those very thoughts had also crossed my mind. Why put the audio through iMac speakers? It’s beyond me. Although I can sort of comprehend the reason for not connecting the Stomp to the Lavry unit - it would add extra stages of AD/DA unnecessary conversion. I like your Coke in a wine glass observation, but I’m going to mix a bunch of metaphors and say that after looking through the wrong end of the telescope, we have now taken a sledgehammer to crack a nut! Yep, it’s Friday and I need a beer - enjoy your weekend.
  16. 1 point
    Are you sure the Return block is activated in the preset?
  17. 1 point
    Gunpointmetal, In the beginning [where have I heard that] … I started with a 1967 100 watt Solid State Silvertone amp that was loud then went to the dual double stack Marshall 100 stage setup (late 1960's - early 1970's). At that time I was being influenced by Blue Cheer, Blodwyn Pig, Nazareth, Led Zeppelin, and other "cover the stage and kill your neighbor's grass with 'loudness'" groups. If we could vibrate the audiences' bodies it was good; good thing we didn't know about microwave principles. And I had hair which helped cover my ears. Then I went though my disco & lounge lizard phase along with the Clapton Beano hair style and even Elvis impersonator backup guitarist phase - don't judge me ;-) - moving to some Mesa Boogie equipment with a few pedals I had screwed to a 1" x 6" pine board using galvanized hanging strap. Next came the big hair and lets produce the sound phase still with the Mesas. At that point I was learning (OK being dragged while kicking and screaming) to trust the sound engineers for the FOH sound; and the sound engineers wanted a better produced and balanced stage volume. At some point it changed my whole attitude as I came to realize music is the silence in between the notes. Fast forward to the NOW and I really do trust the sound engineers; and my hearing for some reason is still good though it shouldn't be. The point is I have become comfortably numb (forgive me PF) with a small stage volume for me and using the Helix couldn't have become part of my musical arsenal at a better time than two almost here years ago; and I am using my iPhone based monitor control app for stage wedges or the in-ear system we are using based upon inside or outside venues and stage foot print. It is the combination of everything that gets the sound perfectly in the mix; room design or lack thereof, stage setup, each & every Helix FX block and global setting, board engineering settings, inside or outside FOH speaker layout, power state, and the list goes on. The keyboardist still uses an amp, the bass player is still using a dual stack, and the drummer is not digital. With all that the only thing I have found that drops me from the mix is when I fail to work with the sound engineer to make sure my Helix EQ and the LA compressor I use on most patches now isn't in conflict with the board EQ (normally flat for my Helix channel) & board compression if and when used. Don't get me wrong there are still times I will use a Mesa and Marshall slant bottom with SM57 with my trusty old M13 or the Helix as an effects only unit but that is only when there are grips available to setup and take down my back breaking rigs; and the real amp setup is usually only for show for the most part as the stage volume is still under control; side note even that rig can get lost in the FOH mix if not produced correctly. There are many dynamics to get the sound to cut through the mix and in the end it is personal taste I suppose that determine one's satisfaction with the use of real physical amplifiers on stage or modelers; it seems to me it may very well boil down to what the musician needs to hear to be in the mood while playing. And there are no right or wrong answer when it comes to personal choices as long as we play well and the audience is engaged. For me - I really really dig the Helix when the universe is well aligned Dennis
  18. 1 point
    I found a ton of schematics here: http://bee.mif.pg.gda.pl/ciasteczkowypotwor/SM_scena/Line6/
  19. 1 point
    Download and install the Line 6 driver. Connect Helix Stomp to your computer via USB. Make sure Reason is configured to use the HX Stomp device and its ASIO driver as its audio device for both recording and playback. Connect your speakers/monitors to the HX Stomp outputs. If stuttering occurs experiment with the buffer sizes in the driver properties.
  20. 1 point
    You are starting to come across as one of those people, you know the ones I mean - "all the gear and no idea". What "cruisinon2" stated is correct - you could simultaneously use both A and B signal paths in Helix and utilise the 8 USB channels to record into your DAW. The set up you are describing is complete chaos and impractical. Having multiple players without headphone and/or a proper monitor system is lunacy. You really haven't thought this through. You need to sit down a draw a diagram of all the equipment you want to use and figure out a flow chart for how it could all work. Initially when I read your first post, I actually though about creating a rough guide chart for you to use to include your drum machine and Emulator, but after seeing you responses to the comments here, I thought no! I don't particularly like to say this, best thing you could do is is go and RTFM. Oh, yeah! Helix into a 4 port USB hub! MEDIC!!!!!!!
  21. 1 point
    “Lost in the mix” is an EQ and/or panning and / or volume problem, not digital vs analogue. If that mix was coming out of a venue PA then by the time it’s gotten to that PA, whether or not the sound origin was digital or not is pretty much irrelevant if the desk is digital. If two sounds are exactly the same then they’re exactly the same. If amps cut through the mix and modellers can’t cut it, why does every guitar forum have endless “how can I get my <insert amp or pedal> to cut better...” type threads?
  22. 1 point
    You have to create a volume block in your signal chain and assign that block to be controlled by exp 2. Same with a wah... place the wah block in the signal chain and assign it to be controlled by exp 2.
  23. 1 point
    This is my current setup - so this is where I have the L3Ms - on pole stands pointed at my ears. https://imgur.com/a/1ogdVyM
  24. 1 point
    I really liked this one. Oddly enough, I have been wanting to create a patch for this to celebrate the upcoming July 4th so you saved me some serious time. Thank you!
  25. 1 point
    you can put a 2.5 license on a gen1 ilock.... however, i would advise simply getting the hardware independent license... software can be authorized to 4 devices at once time without relocating your ilok. that and the biggest bonus is that you can use model packs... with the ilok its either standard or platinum... no model packs.
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