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Showing content with the highest reputation since 10/10/2019 in all areas

  1. 4 points
    FWIW, I've watched all 3 of your amp/modeller comparison videos and enjoyed all of them. So keep it up - there's room in YouTube land for all sorts! :)
  2. 4 points
    Hey guys, creator of the video here. Our videos are getting more attention than I ever thought they would and I won’t try and defend anything since everyone’s entitled to their opinions. I personally became fed up with all the hate I was hearing about the Spider V, and once my buddies all acquired the amps to do it, we thought it would be fun to see what we thought sounded best. I have a background in video, so I thought “why not”. We’re not attempting to make scientific discoveries. That’s why in this video, amps x and z sound good but y sounds bad and in our other video y sounds great but x and z sound bad. We’re just trying to have some fun. Take it for what it’s worth. We’re not professionals, just guys who like gear, trying to share it with y’all.
  3. 3 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.
  4. 2 points
    So I've been a Stomp user for about a year now. I haven't been at all disappointed in it. It's been my baby and I've taken it everywhere. Sometimes with a pedal board of additional pedals, often just on its own, and I've just been thrilled. So I sold it. Bought myself the Helix floor. I was looking at a mic pre-amp to use with the Stomp which would have been a decent chunk of change. Then I realized I had a bunch of unused gear that would sell for a lot, and that the Stomp would sell for a lot . . . plus I own a Variax . . .saw a great deal on a mint used unit and suddenly found myself clicking "buy now." And yeah. It's arguably complete overkill, but I'm really excited to be able to do EVERYTHING now. I'm hoping to have the same experience as everyone else, namely rarely needing anything else anymore. The Stomp almost pulled it off, and so now I'm thinking this might just put the nail in the coffin of gear chasing.
  5. 2 points
    So, I've just ordered a HX Stomp. I can definitely see why someone might prefer the Effects, but I think the Stomp will be ideal for me. Thanks.
  6. 1 point
    for a digital signal you could use the USB Out but theres gonna have to be a PC in-between your HXS > PC > Denon balanced/unbalanced cables are plentiful and you could make them yourself. https://www.rane.com/note110.html you could also try a balanced cable with a Switchcraft 303 inbetween your HXS and Denon. HXS > SW303 > Denon but if theres noise/hum, maybe consider your mains source/s, lighting; dimmers, florescent, AC. As stated you should be able to get a clean signal in a 16ft run.
  7. 1 point
    This bug was fixed in the 2.82 update. It’s specifically mentioned in the release notes.
  8. 1 point
    @Kilrahi.... I went through the same thing with my HX effects last year... ended up with an LT after 8 months or so. I could have gotten use out of the extra inputs on the full Helix... but I need to watch the dollars and here in Canada there is an $700 difference from the LT to Floor.
  9. 1 point
    LOL --- I was wondering this too until I tested the lollipop thing. It seems every time you use any lollipop cuss word the lollipop forum exchanges the lollipop cuss word for the lollipop lollipop word "lollipop." It lollipops me off.
  10. 1 point
    Setting the input to Line in the Stomp does the exact same thing as turning the input pad on in the Helix. The amount of attenuation is identical according to DI (Eric Klein).
  11. 1 point
    My understanding, which may be limited, is that each guitar will have a different level of output so you can customize the volume level depending on the guitar being used. So you have a specific level set for your Strat or Les Paul etc. Whether that a good thing or not is up for debate. Having said that it's a moot point given that the stomp doesn't have that "feature"
  12. 1 point
    it's not not only isn't it the most fitting, it is way out in left field
  13. 1 point
    I understand the design motivation for limiting HX Stomp to 6 blocks: Keeping the UI elegant, simple and easy to use Focus on adding a stomp box in an existing pedalboard to compliment an existing setup with HX capabilities Consistency between the number of blocks and DSP capacity Anticipating future blocks that may utilize significantly more DSP resources Limited number of foot switches to control blocks Essentially this means HX Stomp is intended to provide Helix capabilities, with minimum footprint, to existing pedalboard and amp setups, not to be all things Helix in a tiny box. I get that, and these are all good design decisions, although these design decisions also sound appropriate for HX Effects. But let's look at how HX Stomp might be used in a gigging situation by itself to see if 6 blocks is enough. This might be for rehearsal, as a backup to Helix, as a convenient fly rig, or just because something so small is so useful. Consider a typical guitar signal chain that uses front and back of the amp effects (| means or): Input > Wah > Compressor > Drive > Overdrive > UniVibe | Phasor | Flanger | etc. > Amp > Cab | IR > Chorus > Delay > Reverb > Output This it my typical gigging Helix patch. I use 10 Stomp mode and pretty much stick with the same patch all night, using snapshots for open tunings, acoustic, and Leslie. This is 10 blocks, and clearly requires more foot switches than HX Stomp can provide. If you need patches like this or more complicated, you need Helix or Helix LT. Trimming this down to 8 blocks, we get something like: Input > Wah > Compressor > Overdrive > UniVibe | Phasor | Flanger | etc. > Amp+Cab > Chorus > Delay > Reverb > Output If you leave the Drive, Amp+Cab, Delay and Reverb on all the time, and you have a Line6 Mission pedal (if you don't, get one, it makes HX Stomp is a lot more useful), then you need foot switches to control Wah, Overdrive, UniVib, and Chorus. If you configure FS3 in global settings for Stomp, then you have the four foot switches you need. This seems like an ideal setup for HX Stomp by itself and is something I would be happy to gig with. To trim this down to 6 blocks, we get something like: Input > Wah > Drive > Amp+Cab > Chorus > Delay > Reverb > Output This is still pretty good, but looses the front of the amp modulation effect, something I use quite a bit. The work around is to create a patch template that covers the common blocks, then create a different preset for each front of the amp effect you need. That can work since you generally only need one of these at a time. But it means creating and maintaining a lot of patches that differ in only one block, and the potential need to change presets in the middle of a song to get different front of the amp effects. This is probably not practical. So I vote for 8 blocks, full Helix Path 1 capability, and let us users deal with balancing blocks and DSP capacity, just like we do with Helix. Two more blocks is actually a lot of additional flexibility without much additional complexity. This said, I'm pretty happy with HX Stomp just as it is and would highly recommend one as an entry point into the Helix ecosystem, as a Helix backup, or as a stomp box to add Helix blocks to an existing rig.
  14. 1 point
    Welcome to the world of mobile devices, everyone has a different result when it comes to Android. Don't get me wrong, I have a OP 7 Pro and previously a Samsung S9. I've always ended up using a PC to update my amp. First make sure the Spider Remote application is up to date, I'm amazed how many phone users don't regularly update their phone and applications. I currently have version 2.0.0 build 128. Just checking now, the 2.0.0 build 128 version of the app works for all functions for me except for the Device Flash. I'm running the Android 10 open beta at this time, so it's possible there was enough changes to the Android OS to allow Spider Remote to work for 95% of the features but fail for flash. If you have access to a computer, I'd recommend that for your flash updates for now. I use my phone along with a supposedly Kevlar braided cable for durability to do any adjustments pre-gig. The cool thing? I really don't have adjust as much with the 2.00 firmware and the classic speaker setup. Rest I do using my FBV 3 during the performance.
  15. 1 point
    Hello guys, I just got a brand new Helix yesterday. The firmware version is 2.30.0. Can i update straight from 2.30.0 to 2.81 after installing HX Edit 2.81 ? The Helix is new (from the box), only have factory presets, do i have to backup anything before updating my Helix ? Thanks
  16. 1 point
    Yes you can update directly to v2.81. Please read and carefully follow the update directions. No you do not need to make a backup. I suggest that you select to update the factory presets as part of the update procedure; this will provide you with the v2.81 factory presets, replacing the v2.30 that are currently on your device. You will encounter this option as you follow the update directions.
  17. 1 point
    I finally found a solution -- I CAN'T BELIEVE!!!!!!!! I had to disable the Gatekeeper. http://osxdaily.com/2016/09/27/allow-apps-from-anywhere-macos-gatekeeper/ Here are the instructions on how to do it. After some research and many failed tries, I succeeded after I did these steps: - Open Terminal from Applications > Utilities > Terminal - Run the following command: sudo spctl --master-disable It may ask for your user password. - Open Security & Privacy panel and you will be able to see this new option Anywhere. Enable it! (unlock the padlock will be needed to make this change). - Now, If you had previously installed the Line6 driver, it must be uninstalled. - Install the driver again -- I've installed directly from the driver file, without using Line 6 Monkey, don't know if it will work. - When prompt, restart your computer. Open up the Security & Privacy panel again and *crossed fingers* you'll be able to see this message: - Click Allow and that's it :) After those steps I could open POD HD500x Edit and BOOM, it's connected I hope this works for those who are having the same problem!
  18. 1 point
    I have to mostly disagree with you on that one. Glitz - describing the bloom etc. made technical sense to me. Ganymede - It adds modulation to the reverb. OK, that makes sense to me with "producing extremely good-feeling reverberation." being what you described. Double tank - It's a plate reverb with no early reflections. Plateau - Adds tones to the signal and describes what some of the knobs do. The "maximum radiance and beauty" was a bit much. But "laid-back and subtle to full-blown majestic splendor." was admittedly a bit over the top but it made sense to me. Searchlights - Well ya got me there. I could glean not one technical thought from that one. Overall, I found the descriptions very...well...descriptive, for lack of a better term, with one exception. The adjectives were a bit over the top but overall, they helped me.
  19. 1 point
    Glitz = Strymon Big Sky Bloom In the ‘90s, more diffusion blocks were added to reverbs to ‘smooth out’ the sound. A side effect of this was the tendency of the reverbs to have a slowly building envelope that ‘bloomed’, resulting in big ambient reverbs that sit nicely with the dry signal even at high Mix levels. The Bloom reverb features a ‘bloom generating’ section that feeds into a traditional reverb ‘tank’, and adds a unique Feedback parameter that expands the possibilities exponentially. Ganymede = BOSS RV6 Modulate This reverb adds modulation to hall reverb, producing extremely good-feeling reverberation. Searchlights = Strymon Big Sky Cloud A gorgeously big, ambient reverb that draws from techniques developed in the late ’70s. Using processing power not dreamed of in those days, the Cloud reverb machine obscures the distinction between reality and fantasy. Double Tank = Strymon Big Sky Plate The Plate machine is a rich, fast-building reverb that creates depth without early reflection cues to a specific environment. The Tone knob and Low End parameter are simple but powerful frequency shaping tools. Plateaux = Strymon Big Sky Shimmer Two tunable voices add pitch-shifted tones to the reverberated signal, for resplendent, unearthly ambience. The voices are carefully created from the reverberated signal itself to generate maximum radiance and beauty. The Amount and Mode parameters allow for a range of shimmer effects from laid-back and subtle to full-blown majestic splendor.
  20. 1 point
    So with Helix doing the "auto Calibration", theres really no way to zero out the controllers. It is what Helix says it is. For instance and IIRC, my SP1-L6 at heel down is at 11%. Moot point- Not that it messes with anything tone wise, but I would prefer to set/reset these settings myself, along with the % that it would engage the Wah, via a software menu in the editor. As expressed in the past, others here don't feel the need for that kind of control, but Id love to see it happen at some point (if it involves the tone of the FX/patch). MORE OPTIONS- Always...
  21. 1 point
    I've been able to use the cc#s with a rocktron midi mate I didn't even know this was a problem
  22. 1 point
    I can confirm that the marshall DSL-1C amp switching works, and I guess that that the Marshall DSL-1H will work with amp switching. This have only the channel switching classic gain - ultra gain , so using only a instrument cable here (no TRS)
  23. 1 point
    In the Helix manual (p38) : "connect ext amp 1/2 only to amplifiers that utilize "short to sleeve" footswitch input ... ( but what is a 'short to sleeve' input ???)
  24. 1 point
    that´ll work for sure...but that´s not why we bought helix, right....?
  25. 1 point
    Can't figure this out. Tried again last night, and it sounded absolutely awful. Guitar was in perfect tune (standard). Tried going 1/2 down and...... ugh, horrible.
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