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  1. 3 points
    It shouldn't, but unfortunately I think the answer to that is sometimes "yes"... Google the "right to repair" legislation, and you can read for days (and probably become alarmed) about what you can and can't legally do to things that you've paid good money for, and own outright. As far as I'm concerned, if I want to buy 100 Helixes (Helices?) and fill them with maple syrup, I should be able to do exactly that... but that's not necessarily the world we live in.
  2. 2 points
    This last edition of Line 6"s New Model Citizen blog further reinforces my belief that they really should create an amp model that allows us to configure with our own choices for the virtual preamp and power tubes. And yes, having separate preamp and power amp models would be even better. https://blog.line6.com/2021/10/14/dave-hunter-output-tube-types-setting-the-foundation-of-your-tone/?utm_source=Marketo&utm_medium=BlogEmail&utm_campaign=Blog_DaveHunter&mkt_tok=MTI2LUxCTi00MjgAAAGAR7c_NpoYaxlpN3mfETro_p1lX_d88NtNKHiQbh1QeL5_DHT9f95RkDsZo5xBTXVcMwhbBPxI4zpaPcluyzXBYGCamF6zzE_p58_XhS4JX7c
  3. 2 points
    It wasn’t a bug. It was just the way the feature was designed. But, yes, that behavior was updated so you can choose the way it responds by setting the Auto Impedance setting under Global Settings now. You can choose whether the first active block determines the input impedance or the first block in the chain. I believe it was added in the 3.00 update.
  4. 2 points
    Well, I'd rather think of it as a useful addon to finetune certain things. Just as I was swapping the stock 6L6s in my MkIV in favour of EL34s (to end up with a mix of both, which was possible as well). And maybe to just slap FX between pre- and poweramp for that little gritty extra. For my personal use case it'd likely be perfectly fine if they offered like 3-4 of the most common power amp designs, mainly to use different sorts of PA tubes. I'd rather not like to fool around with swapping individual tubes and such - that'd be quite a rabbit hole indeed.
  5. 2 points
    Ah ha, a Mac and Big Slur. You may be inadvertently opening an alias back to and earlier version of HX Edit. Solution - Delete all, the Line 6 software that you have already downloaded and restart the MBP. If downloading using Firefox it may be malfunctioning and keeping the old downloads and confusing the hell out of everything. Download the whole thing to your downloads folder and unpack the installer - don’t let Firefox do it. Now simply re download and perform a clean install of HX Edit 3.11 and let it do it’s stuff.
  6. 2 points
    Hi, When the installation finished, your LT should have automatically rebooted and rebuilt the presets, which updates them to the latest version. If not - do it now. It is also advisable to perform a factory reset when things do not work as expected. Reset Options Helix Floor/LT Button Combination Description 2 LED light Fun 3 & 4 Test Mode 5 & 6 Global reset 7 & 8 Reset setlists to factory, Keep IRs 8 & 9 Reset setlists to factory, Clear IRs 9 & 10 Reset setlists to factory, Global reset, Clear IRs 10 & 11 Upgrades existing presets to latest format 11 & 12 Clear current preset 5 & 12 Clear setlists, clear IRs, Return system settings to default 6 & 12 Safe boot mode To use Reset Options: Power off the Helix Hold the desired button combination Power on the Helix Release the button combination Please note: Buttons are numbered from top left to bottom right. Hope this helps/makes sense.
  7. 2 points
    I can sum it up in for you: The companies are not concerned with consumers' best interests. The lawyers are not concerned with the consumers' best interests. And the politicians sure as $hit are not concerned with the consumers' best interests. Yet these are the three entities that will argue amongst themselves, grease each other's palms, and ultimately decide how the cookie crumbles for the rest of us serfs...you do the math.
  8. 2 points
    Because JSON files are plain text files, you can open them in any text editor, including: Microsoft Notepad (Windows) Apple TextEdit (Mac) Vim (Linux) GitHub Atom (cross-platform) I'm not smarter than you but Google is smarter than us both.
  9. 2 points
    Exactly my point. I could care less if one chip has 11 extra phemtobytes (or whatever esoteric units in which one wishes to measure) of DSP. Does it do what I need it to do? Does it sound good? If the answer to those questions is "yes", great. Sold. If not, moving on...
  10. 2 points
    Ok... but a laptop might be called upon to do any one of 10,000 very different tasks, the success or failure of which might really be dependent on genuinely knowing what's under the hood so that you don't find yourself in a "you can't get there from here" scenario...but a modeler either does the one thing it's designed to do, and do it well, or it doesn't. And the assessment of said performance is almost entirely subjective and directly related to an individual's personal experience with these kinds of tools. In the end, I fail to see how a reading a spec sheet beforehand will aid in the above determination one way or the other, for one simple reason: I'm no dummy, but I'm also not tech savvy on a super granular, component level, either... you could almost tell me that Helix's innards consist of a really smart hamster named Lou, who manually implements whatever changes I make in real time on a tiny laptop, and I'd be hard-pressed to disagree. Similarly, you could rattle off the name(s) of the latest and greatest processing chips, and it wouldn't mean any more or less to me than if you called them Fred and Ethel... and I know I'm not alone in this regard. So it's not hard to understand why they don't bother to publish the majority of those specs...Joe Average neither knows nor cares, and for the minority who do, some are bound to whine loudly and publicly (just like Captain Video, above) about anything they've judged to be substandard. So if you're Line 6, what's the upside? The only question I need answered is "will 'Device X' serve my needs, or not?"... and I can't get that from a spec sheet. There's exactly one way to find out. Just my 2 cents.
  11. 2 points
    I was thinking of upgrading my kidneys... how big should I go? ;)
  12. 2 points
    If you put the delay just after the amp, with the MIX set to 100%, you'll only hear the delayed signal.
  13. 2 points
    Hope you’re not talking about your son…… ;-)
  14. 2 points
    easy. by not using tap-tempo in your delays. Instead use actual BPM values. It's easiest to do this in HX edit -- simply type in the beats per minute or whatever values. And disable the tap tempo light ^^. I don't tap in my tempo because we play to a click. But some delay tempos were originally created with a tap button. I disabled the light and have it set up where the delays are on a per-snapshot basis and the changes are discarded. So I can press the snapshot button again and all my tempos will be back to their saved values.
  15. 2 points
    Go to the Global Settings ---------> Displays -------------> Tap Tempo flashing LED on/off This is NOT turning Tap Tempo off (you can't), but it's shutting the flashing red LED off.
  16. 2 points
    A quick fix would be to only use the left output of the Helix, either the left xlr or the left 1/4 inch. If you don't have a cable plugged into the matching right channel output, the signal is summed to mono. Good luck!
  17. 2 points
    Hi, I had exactly the same problem with my FS7 foot switch. But I think I've just fixed the issue. Apart from setting the EXP/FS to FS4 and FS5, I changed the 'TIP POLARITY' to 'Inverted' and the 'RING POLARITY' to 'Inverted'. They were both previously set to 'Normal'. Just to clarify, this is in 'Global Setting' under 'Preferences'. As far as the foot switch, it seems to work if the polarity is set to l or ll. And of course it's set to Momentary. Now my FS7 is working fine. Hope that helps!
  18. 1 point
    Here ya go: They're all "similar" to any mediocre reverb you've ever heard...;)
  19. 1 point
    Boss pedals behave that way as well as most other non true bypass devices.
  20. 1 point
    Preset loading fine over here, so I'd check everything again. I've only ever seen this message once, when I had forgotten to update HX Edit.
  21. 1 point
    Are you SURE that you're on v3.11 of the FW? If YES, do a factory reset. If that doesn't work, reinstall the FW v3.11 and FOLLOW ALL THE DIRECTIONS including the seemingly redundant factory reset AFTER the update. If it still isn't working, call support.
  22. 1 point
    This is especially important with a spring reverb effect since in the real world, that reverb tank is in fact between the preamp and the power amp. Also, when you connect effects to a real tube amp's effects loop, they too are between the preamp and the power amp.
  23. 1 point
    I'd say: Nailed it! I hear small differences but those could have all sorts of causes of which the two most likely are: my ears making stuff up and circuit component fluctuations and variations like different pots. The character of the original is definitely there.
  24. 1 point
    I would even take that a bit further. Even without going *too* much into whatever details (such as in Fractal or Bias land), I'd like to see some sort of "playground" amp model. What it could/should feature: - Independent pre- and poweramps. - Choice between various basic drive characteristics. - Pre- and post tone stack (that alone would make up for a whole new world of a difference), maybe even some inbetween tone stack options (such as on some Boogies). - Multiple drive stages (ok, we already have these on some ampe), so you could place a tone stack inbetween. In addition, all that would work a lot better with these options: - Customizable tone stacks (as in a parametric EQ). - A "consolidated" tone stack allowing you to not always see all parameters exposed. - Input level as a modifier, at least for all the amp internals (I wish there would be all sorts of modifiers all throughout the Helix, but I doubt we'll ever see that, which is as well a certain part of the reason why I will likely switch to something else). Especially the latter can do *soo* much in terms of dynamic interaction. Once you fool around with, say, Guitar Rig, you'll know how far input levels used as modifiers can take you. You can turn even the most stiff feeling amp into a dynamic monster within seconds. Now route input level to both drive and, say, a mid control (and maybe add some inversed modulation for the treble control) - and *whoosh* there's your amp which will clean up super nicely when turning down your guitar volume, regardless of the guitar used. Anyway, a custom amp would be quite some fun.
  25. 1 point
    Been gigging with these for years. Dependable, durable, flexible, feels like a regular guitar cable... https://www.amazon.com/gp/product/B01GVXIXFI/ref=ppx_yo_dt_b_search_asin_title?ie=UTF8&psc=1
  26. 1 point
    Hi, IIRC, these are 25 feet long Variax VDI cables. https://www.amazon.com/Line-Variax-Digital-Interface-Cable/dp/B000JLMXSC/ref=sr_1_1?dchild=1&keywords=line+6+vdi+cable&qid=1634829776&qsid=142-3679790-3122147&sr=8-1&sres=B000JLMXSC%2CB000JRECI0%2CB00864E760%2CB072L343B7%2CB01MZ81SB3%2CB08WRQH82Z%2CB00YOSA85Q%2CB00PML35RC%2CB07QM5GKDD%2CB07JYXYSSL%2CB01KRLYPNE%2CB075FRMSDG%2CB07QLXC6QR%2CB015OW3M1W%2CB0001Y8UC0%2CB0824H8F8J&srpt=ELECTRONIC_CABLE Hope this helps/makes sense.
  27. 1 point
    This is what Eric Klein (the Line 6/YGG Chief Product Architect) said about it - https://www.thegearpage.net/board/index.php?threads/line6-helix.1586637/page-3242#post-29615341 It's all translation costs. If we only needed to do English, I'd already have written a 500-page behemoth for everyone to peruse on the toilet. Instead, trade law legally obligates us to provide content-identical manuals for any hardware we manufacture in TWENTY-SEVEN languages. The money we spend every year on manual translations could pay for additional engineers, and we'd much prefer the latter. For whatever reason, software doesn't have the same stipulations, so the manuals for HX Edit and Helix Native get updated every single rev. TL;DR: I'm not happy about it either.
  28. 1 point
    IMO it depends a lot (possibly even the most) on which cab you're running things into, as with clean amps that will be the deciding factor for the overall voicing (well, not only for clean amps) and hence define whether your drives will sound sweet and silky or harsh and biting (or anything inbetween). Anyway, my personal favourites as clean pedal platforms are the Princess, the Cali IV Rhythm 1, the Cali Texas Ch 1 and sometimes the Placater Clean. I usually set all of them so they allow for a lot of real clean headroom (I often like/need completely clean sounds). If you can get away with a tad of dirt on the amp, I like the P75 or one of the other Marshall variations (the Line 6 2204 Mod takes pedals pretty well IMO, but you might even have to roll down your guitar volume for a completely clean sound as it doesn't sound too great with drive values <0.8 anymore, at least to my ears). Whenever I don't need completely clean sounds.I prefer one of those as a little bit of dirt on the amp seems to "gel" sounds together a bit better. Regarding cabs, out of the ones coming with the Helix, I prefer the two 4x12 Greenback models, but the Cali IV or Cali EXT aren't all that bad, either. I also sometimes like the 4x10 Tweed cab. Most of the times I'm using one of my own IRs or one of the RedWirez Big Pack, though (especially live).
  29. 1 point
    Not that stupid then - got there in the end! Glad you got it fixed. Enjoy your new toy - it’s quite a leap from v.2.71
  30. 1 point
  31. 1 point
    Holy mackerel! I've built a number of MIDI controllers over the years, but you really knocked this one out of the park!!
  32. 1 point
    Thanks for the reference to "right to repair". I was wholly unfamiliar with it. Some really interesting reading on the subject out there. Lobbyists and lawyers can end up spending a lot of their corporate client's money lobbying on K Street and trying to craft contracts that bulletproof their EULA agreements to indemnify themselves and avoid culpability as well as discourage theft of intellectual property. These agreements can also help to protect consumers from themselves and better ensure ongoing and safe operation of purchased items. Perfectly understandable for the company in the interest of avoiding a frivolous lawsuit or a tragedy. Not so much when it is a legitimate case of corporate negligence or error, although there are laws in place to help hold companies accountable in those cases. Sometimes they protect the consumer but we all know how that can end up working out in the real world though when your rumpled suited, mail order degree lawyer is sitting opposite a top tier corporate law firm. It might or might not help if we were not such a litigious country in getting a more rational compromise hammered out between corporations and consumers. The other side of this though is just greed and profit motive. Sure, there are individuals who make their living off of "slipping" in the lobby and have a dozen outstanding lawsuits going at any one time against any company or individual unfortunate enough to come into their orbit. From my limited reading on the subject though, there definitely also appear to be areas where companies are using the legislatures to pass laws that allow them to unfairly monopolize or increase repair revenue or compel a new purchase by charging unreasonable prices for out-of-warranty repairs and essentially forcing a new purchase as the only sensible cost-effective option, rather than a repair. To be fair though, we live in a throwaway cultural and technological paradigm where often it is cheaper to buy new than the bottom-line economics of repairing an item, regardless of well-intentioned efforts by the company to restrain repair costs. I have personally experienced the frustration and difficulty of trying to procure a service manual or a part when not being an authorized repairman but this issue extends far beyond that. Third party repair centers with legitimate credentials but unanointed by corporate HQ, apparently have also had difficulty getting service manuals, parts, firmware, etc. from a variety of companies as well as sometimes being legally prohibited from performing service without the corporation's permission. It does make sense to me to deny the DIYer access to repair information on some items that pose a serious risk of fire or electrocution but I admit to always finding it frustrating to be denied access to critical repair information nonetheless. Not sure how much safer it makes consumers either. Consumers who are inclined to attempt a repair themselves may decide to wing it, which can be considerably more hazardous than operating with a manual with appropriate warnings and correct procedures. Limiting access to service info may also be more ineffective these days when a lot of those same service manuals are for sale now on various third party sites. Probably operating outside borders where they could be prosecuted or perhaps sometimes serving as a source of publishing revenue for companies but limiting their legal exposure? From my cursory reading on the subject so far though I can definitely see where there is a need, particularly in the best interests of the end user, to find some more rational middle ground. The laws governing this issue appear also to vary widely by state/country. Gonna read up some more on this. These are just my initial impressions. It is easy to see the complexities and challenges involved on both sides of the issue - corporate and consumer.
  33. 1 point
    To Install LINE 6 EDIT (For the XT Live) on Windows 10.... follow this HOW TO (the first post) https://line6.com/support/topic/59140-how-to-install-line-6-edit-on-windows-10/ To Install LINE 6 WORKBENCH (for 1st gen Variax Guitars) on Windows 10... follow this HOW TO (the first post) https://line6.com/support/topic/59142-how-to-install-the-original-workbench-on-windows-10/ I wrote both of these... and it's the method I STILL USE for each when installing on Windows 10 machines. NOTE: Don't assume anything... follow each step precisely
  34. 1 point
    Yep. Same here. I've tried mine through my studio monitors. I've tried it through my full P/A. I've even tried it through my near-field monitors on my computer. I'll stick with my amp and 4CM, thanks. It just doesn't sound authentic any other way.
  35. 1 point
    I played my first gig in a year and a half on Saturday. It was an unpaid gig to help out my favorite local BBQ joint scare up some much needed customers. Me and my girlfriend play 90s rock tunes with a couple friends of ours just for fun (we're all in other bands) and we never planned to do gigs with this band but it was a good opportunity to help out a business that is really hurting because of the pandemic restrictions. We played well, lots of people showed up, everybody had fun and the bar made a ton of money, but most importantly... MY GUITAR TONE WAS INCREDIBLE!! 90s rock is a lot of fun to play because you get to have vicious heavy metal tone but you don't have to play heavy metal, which is convenient since I'm not that good. Here's my rig: Helix LT Mesa Boogie .50 Caliber Plus Avatar 4x12 cabinet with Vintage 30s So a little about the Boogie. It's kind of one of those great amps that nobody really knows about. It's basically a poor man's Mark III. Same basic controls except none of the push/pull pots on the tone controls, no separate gain control for the lead channel, and just a straight 50-watt 6L6 power amp instead of the Simul-Class thing. Mark IIIs are going for $2k+ on Reverb while you can still get a .50 Cal+ for under a grand, which is a better value IMHO. There aren't many better amps for heavy distorted tones, and while its sister amp the Studio .22 might be more suited to blues and country players with its pair of EL84s, its preamp is versatile enough to get me close. About the preamp. About Mark-series preamps in general. Everybody who's ever played a Mark-series amp for the first time has the same problem - "I can't make it sound good". The tone controls don't do the same thing as most amps. They aren't for equalization. That's what the 5-band equalizer is for. The tone stack on a Mark-series is like having 3 frequency-dependant gain controls, since they are pre-gain. Depending on how you set them, you can get anything to super tight metal tones to crunchy rock tones to thick blues tones to fat fuzz-box tones. Then you can use the 5-band to add bass content or scoop the mids or make it sizzle with high-end or whatever you want. It's an incredibly versatile design and I recommend that everybody here delve into the Mark IV model on their Helixes just to get a feel for this very unique preamp design because the model is very close to how my amp works. I use it in 4-cable method with my Helix LT. 4CM has until recently been a source of frustration for me. It's my own fault, due to my own lack of understanding of the electronic relationship between all the elements in my rig. When I first tried 4CM, I was using an X3L. At first I was blown away by the ability to put certain effects before the .50 Cal preamp and some after, but after a while I started to notice that it didn't sound the same. It had a "screaminess" to it that wasn't there when I just plugged straight in. I tried to research what was going on and found out about impedance. Impedance WAS the issue but my understanding of it was off. The FX SEND of the X3L was line-level, and my amp expected an instrument-level signal, so that must be it. So I got a reamp box and put it in between my X3L and my amp's input. In one way it solved the problem, in that the screaminess was gone, but it wasn't until I got the Helix that I realized that I was thinking of the issue incorrectly. Like many of you, I read the manual thoroughly before buying the Helix, and was excited to see that there was an option to have the FX Loop operate in either line- or instrument-level. It seemed to me that L6 had acknowledged an issue and addressed it. Well, they had, just not the problem I was having. It didn't matter what setting I used, my amp still sounded "screamy" to me, so I went back to using the reamp box. But I kept thinking that I must have something wrong, so I started asking questions on this forum about impedance and thankfully some users who are much more knowledgeable than me chimed in. In short, the issue wasn't with the impedance between the multi-fx and my amp, but between my guitar and my multi-fx. Guitar pickups are inductive, and as such are affected by the impedance of the device they're plugged into. In the interest of compatibility, the X3L was designed with a 1M input impedance, whereas my amp's input impedance is somewhere around 400k. I'm still not sure how the reamp box was affecting the interaction between the multi-fx and my amp, whether it was risking damage or not, but the point is that whatever it was doing to dull out the screaminess of my guitar signal, it was also doing that to any effects I was putting before the loop. On the X3L, it might have been the only solution, but the Helix has variable input impedance, and setting it to 230k (next step down from 1M) immediately solved the problem. My tone doesn't sound screamy when I'm using just the Loop block, and when I put effects before the loop I'm not having to crank the tone control to compensate for the reamp box dulling it out. Plus it's one less piece of gear to carry and one less cable I need. Now, because of the pandemic, this 90s rock band hadn't jammed in almost 10 months. When we were jamming regularly, I was trying to build presets that mimicked the actual rigs of the artists we were playing, so most of the time I was using models. Really, the only time I used the .50 Cal preamp was for the Nirvana stuff: Kurt's live rig, and the main amp for Nevermind, was a Boogie Studio Preamp into a PA power amp. The Studio Preamp, like my amp, is a simplified version of the Mark III concept. So the .50 Cal preamp was set to what I could find were Kurt's settings on his amp, with a Deez One Vintage in front of it. And all my other presets used amp models. It was a lot of fun researching the gear these guys used and trying to mimick their rigs and tones, but I knew that trying to navigate 20+ presets after 10 months with no rehearsal would complicate things and potentially cause a catastrophe, so I decided to simplify. I did the whole show with 4 presets, all using the .50 Cal preamp. I should mention that the secret weapon in all this is an AMT FS2-MIDI. It's a 2-button footswitch that both sends and receives MIDI CC messages. See, the EXT AMP feature of the Helix doesn't work with my amp. It only half defeats the 5-band. Anyway, it allows me to control the amp with my Helix, gives me 2 additional dedicated buttons to control my amp without taking up Helix footswitches, and also allows me to also engage certain blocks when I switch to the lead channel on my amp, which really helps with not having a separate gain control for the lead channel on the .50 Cal. I set the gain control at 3 to get a nice clean tone, but setting the gain at 3 doesn't give me nearly the amount of gain I needed for the distorted tones, so I used Distortion blocks and set them to be engaged when I engaged the lead channel on the .50 Cal. By using different pedal types I was able to approximate the tones of the songs we were playing without having to use the exact rigs. I had one preset for the Nirvana stuff. Deez One Vintage and Cali Q for the basic tone (yes, it's a model of the same 5-band equalizer I have on my amp, but Kurt set his EQ in a particular way that isn't particularly compatible with anybody else's sound, not to mention I didn't have to worry about the sliders on my amp getting knocked out of place during transport). The Snapshot feature really helped. I was trying to emulate the sound of the albums, not necessarily their live sound, and I was surprised at the number of combinations of clean, distortion, chorus, and reverb there were and how quick the transitions were. Without Snapshots I would never have been able to turn off the distortion and engage the chorus and reverb between the intro and verse of Smells Like Teen Spirit, and if you watch them live, Kurt never could either. He needed a Helix!! Oh, and also I had a Poly Capo set to -2 for Come As You Are, Lithium, and Drain You, as those songs were all tuned to D Standard on the album and made them easier to sing. My second preset was for Smashing Pumpkins stuff. Bighorn Fuzz. Actually I had two distortions running in parallel using a Split A/B on a switch so I could go to something that approximated Billy's straight JCM800 tone, like in the chorus of Cherub Rock. For the solo I used a Simple Pitch to emulate an octave pedal and used an Octavia and a flanger. Then for the solo for Zero I used a Whammy with a +6 pitch shift at 50% mix. We discussed using Poly Capo again to tune to Eb (bassist has a Helix Stomp) but decided that would complicate things unnecessarily. The third preset was for Guns and Roses stuff. I felt like the guitar tone was distinctive enough to warrant its own preset. I think I just used a Tube Screamer to get the gain I needed, and a Cali Q to get that mid honk. Poly Capo set at -12 and 25% mix for the intro to You Could Be Mine. The fourth preset was my "everything else" preset. Parallel distortions on a Split A/B on a switch depending on whether I needed thick fuzzy tone or tight palm muting. A wah (Man In The Box) and a whammy (Killing In The Name Of) also in parallel on a Split A/B on a switch so I could select which one to engage with the expression pedal toe switch. A switch to disengage the Cali Q for that middy honk of Big Bang Baby. The other thing that really helped the show go smoothly was that I could set the clean/dirty balance using the volume controls on the amp during the show rather than try and guess while building the patches in my living room. As long as my distortion tones were somewhat consistent between presets, and same for the clean tones, I could quickly adjust the balance between them during the show in a way that would apply to all presets. Apart from all the convenience and simplicity of using only 4 presets and just using one preamp for the whole show, one thing I will say is that it had a definite benefit on tone in general. I'm not one of these guys that thinks digital modeling is inferior to real circuits: I use my Boogie because it's the amp I have and when I wanted to simplify my rig, I decided to go with the Boogie preamp because it's the one I know the best and I just had to reach over and grab a knob if there were problems. It would have sounded just as good had I used an amp model. But it was limiting myself to the settings on the Boogie and using distortion pedals to color the tone that was an eye opener. I'm not one for distortion pedals much - I use tube screamers all the time to increase gain and attack, but beyond that, I'm generally looking to get my tone from an amp or a model of an amp. And so putting high-gain distortion pedals into a sort of lower-gain lead channel setting is not something I've really ever done, and boy is it cool. I was getting the kind of compression that I associate with power amp distortion (like the electronics are buckling) at bedroom levels, and then when it was time to play and the amp volume was at 8, things got really nuts. Even when I used settings to give me really tight palm muting attack, there was an underlying fuzziness that I would have never thought could work with that kind of tone, and again, the sound of the volume dipping ever so slightly every time I hit a chord was addictive. And the funny thing is that everybody in the room said they thought it wasn't as loud as they figured it would be. But to me it felt monstrous. I don't know if I won't go back to having more presets in the future, but I definitely have to reconsider being so rigid about emulating the exact rigs used in the songs, because even if it sounded closer to the record when I did that, I didn't sound as good. Sorry for the long post. Thanks for reading. Comments welcome.
  36. 1 point
    Hi Waymda, I was expecting some difference but not this dramatic. You have likely identified the culprit - gain. I was just tweaking one of my presets with the Diesel Lead, backed off the gain, pushed up the mids a little, tried a bit more from the master for saturation and it helped a lot. Also tweaked some low and high cut from 100 to 8000 to 110 to 6000. The other was attack setting of the horizon drive. All of these tweeks have fixed it, Its like having a new guitar, as you said, need to relearn what works. Thanks for your advice.
  37. 1 point
    To state the obvious, in many respects current modelers are a computer specialized to generate and process sound. Although modelers have in common with each other the identical goal of emulating amps and effects and often providing a recording interface, where they differ from computers is the higher degree of specialization in the UI, firmware, and software that sit on top of the hardware. These can vary wildly from one manufacturer to another and seem, to some extent, have lent license to companies not being particularly forthcoming about the hardware that underlies them. You don't just slap the identical version of Microsoft or Mac OS and Office onto every single modeler. There is no comprehensive benchmarking application for modelers. Not having an identical yardstick applied to all hardware makes it less compulsory to provide hardware details that make it easier to predict how different hardware platforms will perform . In many respects this is a good thing as hardware is hardly the sole factor in providing the mojo that makes for a great modeler. Protecting intellectual property probably plays a role here as well. Although modeler manufacturers tout certain specs they are particularly proud of, often they are not very comprehensive about listing just what is inside the box. When you purchase a computer/laptop there is almost always a description that informs you, in some measure of detail, exactly what parts it has inside - make, model, type, and speed of the CPU, memory, storage, I/O, MTBF, etc. Those specs give you a better idea of how much you should be paying, what kind of performance to expect, how long till the devices EOL, and what sort of processing and storage it may be capable of down the road. Generally speaking, although few/none of them do, it is also a good thing when modeler manufacturers list at least the more vital core components and specifications in their modelers such as the DSPs used, capacity and speed of memory/storage, signal processing latency at the inputs and outputs when used for playing or recording, etc.. For many devices you have absolutely no idea how many presets, IRs, minimization of latency, degree of algorithm complexity, or often even the potential max number and types of effects in a path the device may ultimately be able to deliver. Although you can hope for more/better in a subsequent firmware update, you have to, as has often been stressed on this forum, go strictly by what info you have at the time of purchase. Definitely not trying to imply anything nefarious going on here but it feels like modeling companies have largely gotten a free pass on full disclosure on their hardware. Many musicians didn't used to have expertise in that area or flat out don't care as long as it sounds good. Due to the subjective nature of sound there is something to be said for not getting into a DSP measuring contest, if it sounds good to you that may just be enough and specs can become meaningless. There is room for additional visibility as to exactly what is inside the box when it comes to comparing tech and pricing across multiple devices and manufacturers or even just to assist the ambitious DIYer. More emphasis on hardware components may eventually lead to modelers which are designed to be expandable from the ground up to allow users to update and enhance their functionality, according to their personal requirements, with component swaps rather than buying an entirely new device. Much like you can do now with a computer by throwing a new motherboard, graphics or sound card, faster types of additional memory/storage, or a faster CPU into it.
  38. 1 point
    LOL, I hear you and that HD500 review was definitely not one of his better moments. I know a lot of people take exception to his reviews, I have seen many a scathing rebuke of him. However he is one of the only reviewers actually deconstructing these devices in such depth. I find his reviews a useful resource for taking a look into the guts of devices I have no intention of taking apart myself. His conclusions on the other hand have frequently been controversial as he seems to heavily weight the overall worth of a device from a component/hardware oriented perspective, sometimes unaware or mistaken about some of some of the device's other features and software or firmware attributes or the fact that it doesn't necessarily need the latest and greatest chip to be worthwhile or even great. Literally that the whole can be greater than the sum of the parts. I know he has skewered some devices I am rather fond of but I still thinks he makes some valuable contributions to the range of reviews available on any given device. Reviews that run the gamut from fawning salesmen to unabashed trolls. Ultimately I am a fan of reviews that take a look at the component level in devices as I find them interesting and I believe they help, if only marginally, to keep manufacturers honest about recycling old technology into newer devices. Not necessarily a practice that condemns the device to inferiority but certainly not a practice conducive to future-proofing either. Some mighty shiny devices that look great on the outside can house some fairly dated technology within. Like most reviews I take his with a grain of salt and weigh them against other opinions, including my own. Note: His review on the Helix was overall positive and quite reassuring as to the quality of the components used.
  39. 1 point
    This is the correct suggestion.... you can also place the delay before the amp on Path B if you want. Well.... how are you muting the amp in path A? If you are just turning off the AMP BLOCK, that does not mute the signal just the sound of the amp. The pick sound would still come through on path A. Try setting the SPLIT before the amps to a SPLIT A/B. To test the B side only.... simply adjust the slider all the way to the B side. This will stop any signal from going to Path A.
  40. 1 point
    Riff da divano #45 - Foo fighters - Times like these - Guitar cover - Free Line6 Helix patch Hi everybody, this is my Helix patch for “Times like these” by Foo fighters - you can download for free! Ciao a tutti, questa è la mia patch per il brano “Times like these” dei Foo fighters - potete scaricarla gratis! https://youtu.be/xpcsa54SsEg
  41. 1 point
    Yeah - right. Keep thinking - it’s not going to happen with the current hardware. Even if it was a possibility, have you considered the cost implications, and that is providing you could find someone able to supply a suitable chip. If you hadn’t noticed there is a bit of a crisis at the moment, even Apple are struggling to get supplies. There is some information around here, or you could even use Google, to find just how much R&D time went into producing what we have now. Meanwhile, if you want to expand your DSP stick a couple of HX Stomps in the Send/Return loops - not cheap but guaranteed to work and possibly easier solution. Another option, Helix Native running on a powerful computer, and a 10 foot-switch MIDI controller. Native is only limited to the amount of processing muscle in your computer. Have you considered that you may have bought the wrong product for the job. Unless you really are into circuit bending you shouldn’t need to butcher the hardware - you could simply buy a Quad Cortex as that appears to be what you are wanting to achieve. Hope this helps/makes sense.
  42. 1 point
    Just stopping in to say I miss you over at TGP. I was worried. Glad to see your still out there. wishing you the best!
  43. 1 point
    The "CPU" used in modelers are actually real time SHARC DPS processors. Upgrading one wouldn't likely be reasonable since they're not anything like a generalized computational CPU but dedicated real-time processors like those used in radars or other military real time applications. Dropping a newer version or especially a different family of DSP chip would be inherently incompatible with the code base in the Helix. The best way to think of DSP chips is they are high speed computational engines used in the manipulation of digital sound streams. There are data sheets available on SHARC processors from the vendors that make them...all guaranteed to put you to sleep within minutes of reading them.
  44. 1 point
    Also, to clarify another point - the volume knob on the POD Go only controls the final output volume. It's neither a pre-amp volume (aka gain) nor a power amp volume (aka master). So it won't ever affect distortion in the POD Go. The best way to describe it would be comparing it to the output volume knob on a DAW (ie. after the whole signal and recording chain).
  45. 1 point
    Sometimes, hitherto undiscovered quantum particles from galaxies trillions of light years away will pass through our primitive electronic devices, causing random fluctuations in the force. Perform a factory reset.
  46. 1 point
    Why does Line 6 not seem to care about the problems people are having here? It should not be up to the community to find their own solution. It's ridiculous...
  47. 1 point
    I upgraded Windows 10 to the latest version, also the .net Framework and Directx, but it still doesn't open. The previous version runs normally. When it appears it just says that the program needed to be closed will search for a solution. But the spider almost always doesn't appear, it looks like it will and nothing happens.
  48. 1 point
    Congrats... hope you enjoy it. I just want to add one more thing regarding blocks... it may trip you up when you first look at it if you don't understand how they are broken down. 32 blocks total.... 16 on Path 1, 16 on Path 2 (each path has it's own processor) 8 each on Path 1A, 1B, 2A, 2B By default, path 1A and 1B are parallel to each other (as are Path 2A and 2B) but it is possible to create a serial chain by adjusting the "split" and "merge" blocks.... effectually putting all 16 blocks in a row. If you do that on both Paths and chain the two paths, you get a MEGA 32 block serial path.
  49. 1 point
    my band Seven Circles just dropped our new album Retrograde Parade, helix was used to record all guitars, and bass
  50. 1 point
    My Buttocks hurts from all the hours I spent sitting down playing with the helix.Is that a good enough endorsement?
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