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  1. I hate this idea. Helix is a guitar processor. If you need a drum machine, buy a drum machine. I have the Beat Buddy. It works quite well. Please don't screw up my guitar processor by adding non-guitar stuff to it. In case you were wondering, I also don't want to see a blender attachment as I don't think I will ever want to make margaritas with my Helix. Why not? Because it is a guitar processor, not a bartender .... or a drummer. Thank you. (insert rolling eyes here)
    3 points
  2. BTW I gigged with the Catalyst last night. Couldn't fault it. Don't think I'll need my Marshall now.
    2 points
  3. IF you can find one, they are still fixed CC's, not sweeping. It would DROP the pitch, then return it - you will not have control (with foot) at how fast the pitch drops. If the effect you are using in the helix has a way to vary the drop speed, that is your only hope. I'd recommend buying a spring loaded expression pedal. Also hard to find, but that would give you the control you really require. Or, buy any cheap expression pedal and do this remarkably simple mod. (it doesn't have to be the expensive expression pedal in the video)
    2 points
  4. Yeah, I've realized these other plugins suck. The catalyst sounds much better by itself. I'm considering a Pod GO, simply for more amp models and effecvts than what are out of hte box. I dont' like buying pedals endlessly for different setups depending upon what type of music I"m messing with at the time. The all in one approach is very attractive for me.
    1 point
  5. You probably meant "early ADOPTER", but in truth, "early ADAPTER" is more accurate! And as far as VIP goes, as relates to Powercab issues, support probably considers me VAP - Very Annoying Person!
    1 point
  6. I get the same result as klangmaler, can’t find that driver either. Tried to search for it in different combinations, no hit. rd2rk, Sure you don’t have a VIP or an early adapter account? :-) Is the fix only for Core Isolation-problems? I run Win10 and has no problem with that. //Per
    1 point
  7. The Fender Mid Boost Eric Clapton can boost the signal 25dB. That's WAY too much for the HX's input to handle. Definitely use the HX's Pad although it is only -7dB which isn't remotely enough to handle the full boost capabilities of the Clapton.
    1 point
  8. After you edit the title, are you hitting ENTER before you SAVE?
    1 point
  9. Attached. Line 6 Driver2_5 Powercab v2.00.0.0 Installer.exe
    1 point
  10. Whenever crazy, unexplainable stuff happens, perform a Factory Reset. If the problem persists after that, open a support ticket.
    1 point
  11. FWIW... the entire focus feature drove me crazy. "Global > Footswitches > Stomp Select > OFF". Focus stays on the block I set it to when saved... crisis averted when something doesn't "look right" at an inopportune time. I know that does not solve your problem, I'm just saying that entire feature.... when toggling between two effects on one switch, never worked as I expected it to. I don't change anything on the fly so disabling the feature serves me well.
    1 point
  12. This is a user-to-user support forum. Nobody from L6 hangs out here. If you believe this to be a bug, open a support ticket to report it. If it's a bug that has previously been acknowledged by L6, then post your suggestion for a fix here, where someone from L6 will see it: https://line6.ideascale.com/c/
    1 point
  13. Take off the knob, tighten the nut, put some nail polish on it so it stays in place, put the knob back on and it'll be fine!
    1 point
  14. Great, they're breaking their own tool.
    1 point
  15. If only it was like that - in that case you could've saved some installers locally (which is what I did). But they just won't install anymore anyway. Anything with 32bit traces is gone since Catalina already, one of the next macOS updates (maybe this year already) will have no Rosetta support anymore, so anything with Intel traces will not work anymore, either.
    1 point
  16. As mentioned several others have recently reported similar problems with Customtone. Would you mind telling us your solution? Might help others.
    1 point
  17. I seem to remember coming here and finding page after page of tones for some of my older line 6 products but now there are hardly any at all. I have a Pod Go and The HX stomp XL and the selection is limited, even Helix offers very little. I only get one page of tones am I doing something wrong?
    1 point
  18. 1 - Yes. You are not "switching channels" as in an analog amp. Your Catalyst actually does not have 6 BANKS of 2 CHANNELS, it has 6 BANKS of 2 PRESETS. When you "switch channels" you are actually UNLOADING one preset and then LOADING another, which takes a couple of ms. 2 - Describe the EXACT step by step procedure that you use to RENAME and SAVE a preset.
    1 point
  19. After over 10 hours of installing and reinstalling I finally managed to get the USB Driver to install and run. Problem: Workbench installs fine Line 6 Monkey installs and updates fine but reports no USB Driver Windows Device Manager reports corrupted or incompatible driver when usb interface is plugged in The solution: Click Start, Type Core, Select Core Isolation and run, turn off the Memory Integrity then reboot. The driver then miraculously functions fine. Line 6, please pin this somewhere as it was incredibly hard to find a solution and please see if the issue can be addressed.
    1 point
  20. It's the same every time Apple put out a new OS, the whole house of cards comes tumbling down, and they blame other developers for not keeping up. PITA.
    1 point
  21. Hi, This has been discussed many times in the past, but … There are no Line 6 staff here and only very occasionally do they visit these forums - (See the “sticky comment” in the black banner stripe at the top of this page entitled “Welcome to the Line 6 forums”). This link is where you need to go to have any hope of your suggestion been seen by anyone from Line 6: https://line6.ideascale.com/c/ Before posting any new ideas, please do a search to see if it's already been listed. Multiple requests for the same thing will thin out the votes. Also, post your ideas one at a time. Many users don’t vote for combined suggestions. Then you should use the “sticky thread” in this forum to let other users know what your suggestions are, with links to IdeaScale, so they can vote on it if they wish.
    1 point
  22. When I create a preset on the HX Stomp XL or Helix Rack (firmware 3.71) with the Kinky Boost pedal, I hear a thump sound when i change to that preset. You can reproduce this by creating to new preset, putting Kinky Boost on the first block, save it. Then copy this preset to another adjacent preset. Then switch back and forth between the 2 presets to hear the thump sound. Anyone else experiencing this?
    1 point
  23. As I'm on a "vintage" Mac (Mac Pro from 2010) running Mojave, I can't exactly tell, but my best bet would be that there's some Intel "traces" in Line 6's software, requiring Rosetta to run in the background - which, AFAIK, Apple will throw out at one point in time (which will be when they happen to think developers had enough time to adjust). And that point will happen rather sooner than later because Apple doesn't give the slightest damn about their customers.
    1 point
  24. In HX Edit, right-click on the parameter and choose SNAPSHOTS. A little camera icon will appear on the left of the parameter and the VALUE field will be in parenthesis.
    1 point
  25. That suggests that you have not assigned the parameters to the Snapshot controller. A parameter that is properly assigned to the Snapshot controller will appear with white brackets around it.
    1 point
  26. There are at least a half dozen other threads with the same gripe. Absent some official proclamation from the powers that be, you can guess until you turn blue about what the cause is. Website glitch, migrating stuff to another server and/or software platform, purging a bunch of crap for no particular reason... or maybe aliens stole it all. Your guess is as good as anybody else's. There is good news though... now instead of spending hours on end auditioning dozens (if not hundreds) of patches to find the one that might actually be useful without extensive editing, now you can spend that time actually learning how to use your device and figure out how to create what you need on your own. In the long run you'll waste far less time, and you'll gain knowledge that you can apply to any modeler under the sun, no matter who made it.
    1 point
  27. You have an Android. All Androids are different when it comes to USB/music app support. All iPhones/iPads just work. I'm not a fan of Apple but have iPhones/iPads for that specific reason.
    1 point
  28. This is a user-to-user support forum. Nobody from L6 hangs out here. Post your new feature requests here: https://line6.ideascale.com/c/ Do a search first since this has probably been requested and vote for all of the previous requests.
    1 point
  29. Without more details, all anybody can do is guess. Does it happen only with one particular patch, or can it be any patch at any time? Is there a volume pedal block in the affected patch(es), or are you using an external expression pedal for anything? Aside from a volume pedal drifting one way or the other and needing to be recalibrated, I can't immediately think of what might be causing it. Is there anything specific that you do that will trigger the problem? Posting the affected patch(es) would allow someone else to download it and see if they can reproduce the same problem on their end. Whatever it is, it's unlikely to be hardware related. If it's just one particular patch, then I'd say it probably got corrupted somehow... rebuild it from scratch in an empty slot and see what happens. Otherwise, as with pretty much any odd and unexplainable behavior, just about the only option you have as an end user is backing up everything and then doing a factory reset. May or may not help, but it certainly won't hurt. If that doesn't solve it, then it's time to open a service ticket.
    1 point
  30. I've decided not to start a new thread but to write in this one because the topic seems related. Like the author, I also use snapshots in stomp mode, and it's true that the names of the snapshots are not visible when they are in edit mode. Unfortunately, as far as I can tell, edit mode is always set on one of the FS. I thought, therefore, I would use an empty FS or one to which I have a specific effect assigned. However, it turns out that there's a bug in the software, which results in the edit mode being selected randomly, as shown in the video below (Originally, the edit mode is marked for FS6 and then, unexpectedly, for FS2.) In my opinion, the solution would be to abandon the default marking of FS in edit mode, or for HX to remember which FS should be in this mode by saving the preset. Or another option: displaying the full name of the snapshot when its assigned FS is being edited.
    1 point
  31. @yoMuzicManYou have re-uncovered a bug. Meaning, this has been noted before. IDK if it was ever reported, so you should open a support ticket to report it. But to be clear, I have tested and this is real. At least, on my HX Stomp. I haven't tried on my Helix Floor, but no matter, REPORT IT!
    1 point
  32. I was playing my HX Stomp last night and this happened to me just like the original poster described. The device remained powered but my signal chain stopped. This happened to me a couple times before, twice during gigs! Ugh! However, usually when I power off and back on the unit it is fine. Last night, it repeatedly did this after powering on/off even when I tried different presets that had fewer blocks. I have a big gig this weekend and I'm more than a little nervous.
    1 point
  33. What manual ? Oh, you mean the PILOT'S Guide for the HARDWARE! Somebody at L6 thought the Editor was so simple a caveman could figure it out. NOT! OK, on a Reverb the high and low cuts allow you to fine tune the tone of the Reverberations. The OUTPUT is the level of the signal coming out of the effect. The MIX controls the amount of the EFFECT vs the DRY signal. Wet/Dry would make more sense to me, but nobody asked... If you mix the effect higher than the dry signal it might make the signal sound quieter or vice versa. If so then you can use the LEVEL to compensate. I don't watch many YT vids, half the time they're clueless. Feel free to ask questions here!
    1 point
  34. Please, please add a mode that will show the Preset Name instead of name of the effect. I am using two external buttons to scroll up and down through the presets. For the sake of argument, let's imagine I am only using one effect type, PolyPitch. I can have several presets with various settings saved, but for all of them the display will simply show "PolyPitch" and not my custom Preset Name. All the different sounds are indistingushable when labeled that way and the only way to navigate is to try them by ear. This is catastrophic and renders the unit useless for me... (I realize, that the list view is the intended way to do it, but with external footswitches it practically doubles the amount of clicks needed to operate the unit). It gets worse! To see the Preset Name at all I have to enter the list view by pressing both footswitches. Both footswitches are also needed to access the tuner. It is very easy for one footswitch to slip while holding both of them in order to access the tuner - the pedal will then either enter the list mode or activate a preset. I also wish there was a way to cue the presets with external footswitches from the single effect view. External footswitches would scrool through presets and the built-in ON footswitch would activate it. Those behaviours are native to other Helix products and as a seasoned HX Stomp user I can't wrap my head around this not being implemented in HX ONE, especially because of the small form factor. Best, Janko
    1 point
  35. Seconded. Just installed Helix Native 3.70 again on nixos, thought I'd swing by and say that this still works great. Also run it with yabridge, also have switched to wine-tkg[1], which makes it perform even better. I am running on sway on wayland, and also needed dxvk along side the other already suggested dll overrides; winetricks vcrun2013 gdiplus urlmon dxvk I think I also left out wininet, like previously mentioned in this thread. I'll add that on newer kernels, the Helix Floor is also discovered automatically over usb (with pipewire), allowing you to tap in to e.g. channels 7 and 8 for stereo monitoring DI (without effects from the Helix Floor unit), which is great for piping directly into a track with Helix Native in e.g. reaper. Gives you the ability to monitor directly from the Helix Floor unit (with effects) while recording the DI tracks for reamping. If you have issues logging in after opening the Helix Native plugin, double check that you don't have an existing activation[2] for a machine with the same name. I had to Deauthorize mine before I could log in. With linux 6.6, pipewire 1.0, reaper, yabridge, wine-tkg, an arturia audiofuse sound card and a 5950x I am able to run a couple of instances of Helix Native and Neural Amp Modeler on a track in reaper while monitoring (off of the track in reaper) without xruns, and reaper reporting a latency of ~1ms. Here's a repo with more of the realtime tweaks I have done, in nix [3] [1]: https://github.com/Frogging-Family/wine-tkg-git/tree/master/wine-tkg-git [2]: https://line6.com/account/devices/ [3]: https://github.com/torgeir/nix/
    1 point
  36. https://soundcloud.com/user-512214365/glemy-pod-hd-ezdrummer Viewing the following Real amp images (click to expand), you can see exactly which controls are actually present in every Helix modeled amp, so you can deduce which controls are instead added "bonuses" which essentially lets you modify the unadorned original amp sound. -Invented control starting point for neutral settings (setting to simulate the real stuff, without those invented parameters). But you can play with this values, it's up to you (no limits): Presence for No Presence amps should be zero (all the way counterclockwise). Exception Jazz Rivet (P: 50%). Eq bonus controls to noon (50%) for No Mid, No Bass, No Treble amps. Master parameter for no master amps to 100%. (Power Amp) Note 1: Real amps (Without Master) with Volume means Gain- Drive (Pre) in Helix. Volume in Helix is like a mixer to compensate final modeled output level (obviusly it doesn't exist in any of the real amps). Note 2 : To attenuate "Crossover Distorsion", the best parameter in Helix is "Bias", increase it from 6 to 8 as general rule just in case you need to mitigate it. Note 3: The default Line6 amp settings parametrs for Helix, when you open a modeled amp, are also a good starting point, normally they are close or exactly in concordance with this. Tip : double click in the parameter to come back to the default one. Note 4: For Pre Amps models in Helx, some power amp related parametrs (i.e presence in general ; or cut tone with vox amp )are not present, but they modeled also Master and Sag with PreAmps. All amps are modeled on the Input 1 (High). If you want simulate Input 2 (low), then use a gain block to take 6dB off the signal, and change the input impedance to something lower; somewhere between 68k and 150k. The Guitar In has the variable input impedance circuit and an analog pad. The Aux In is a low impedance, line level input. Using one of the returns set to instrument level would be the closest to the Guitar In. ---------------------------------------------------------------------------------------------------------------------- '64 Fender Deluxe Reverb [us Deluxe] (no mid, no presence, no master) the tone controls are exactly like that or a twin reverb except the 10k linear midrange knob is replaced with a fixed 6.8k resistor. If you want to match the model to the actual amp, set the model between 6.1 and 6.8 (values drift in the real amps). The idea, though, was to make the midrange knob on the deluxe behave like the midrange knob on other black-face fender circuits that have a midrange control. While the Twin Reverb set the standard as the large-club amp, its smaller sibling the Deluxe Reverb established itself as perhaps the most popular small-to-medium club and studio amp of all time. And now, in this age of improved sound reinforcement and lower stage volumes, a Deluxe Reverb remains all the amp that plenty of players need to get their mojo going, whatever size the venue. With 22 watts from two 6V6GT output tubes in class AB, a single 12 Oxford 12K5-6 speaker, and tasty tube reverb and tremolo (the latter errantly dubbed vibrato on Fender control panels), the Deluxe Reverb is a grab n go combo that has proved a pivotal tone tool for too many major players to begin to mention. Its clean tones exhibit classic mid-60s Fender sparkle and bite, while its overdrive is extremely dynamic and expressive. Plenty of guitarists consider this the ultimate Tele amp, but inject just about any style axe and the Deluxe Reverb will deal out gorgeous tones with equal finesse. The Holy Grail for many blues, country, and "roots" players has been a blackface Fender® Deluxe Reverb®. After listening to quite a few candidates back when we were seeking the ultimate Deluxe Reverb® for our 1964 Blackface 'Lux model to be based on, we stumbled upon an extremely cool '64 Deluxe Reverb®. We still haven't found one better. Most players love a Deluxe Reverb® when it's turned up to about 7 for a nice gritty sound that cleans up when you back off your guitar's volume knob just a little. Notice how the tone control response changes as this Amp Model's Drive is changed: clean settings are crisp and present, while more driven settings will mellow the high end. This is typical of what you get from a Deluxe Reverb® and is nicely captured here. The Deluxe Reverb® itself has only Bass and Treble controls, leaving us, once again, with the prospect of a couple knobs with nothing to say for themselves. But fear not; in this case, we've set up the model's Middle knob so you can add some post-Amp Model Midrange contouring for a little more flexibility, while Presence adds, well, Presence. Once again, set the Middle knob to its "neutral" 12 o'clock position and the Presence knob to 0 for the classic Deluxe sound. Tweaked up right, this tone will cut through and sing. We jacked into Input 1 of the Normal and Vibrato Channel to get this model cooked up. US Deluxe NRM: The Normal channel is the mellower of the two, with less brightness and gain than the Vibrato channel. us Deluxe VIB: The Vibrato channel is a separate preamp circuit with tone and clipping characteristics that are different than the Normal channel due to an additional 12AX7 tube stage. High frequencies are increased due to the addition of a bright cap across the volume knob. Tips: We matched the knob positions in the amp models. If anyone here has used a Deluxe Reverb you know that after about 4-5, the amp stop getting louder. Once the amp goes past 7-8 it can get pretty ugly. The model behaves the same. Once the drive passes 40% or so, it'll never be a clean amp. Cranking the drive will never give a tight distortion, it'll blow out the power amp. Some think this sounds awesome, some think it sounds ugly. That's totally subjective. But if you are using a model and you want more drive, think of how that model would sound when cranked. Sometimes it sounds a lot better to put a drive pedal in front of an amp than to push an amp to its limits. ----------------------------------------------------------------------------------------------------------------------- '65 Fender Twin Reverb [us DOUBLE] (No Presence, No Master) An all-time classic of biting twang and shimmering clean tones, the Fender Twin Reverb first hit the scene in 1964 and quickly became the standard for large, fully featured touring combos. Everybody used it, from jazz and country players to serious rockers. With 100 watts of power, 2x12 Jensen speakers, and lush onboard tremolo and reverb, the Twin Reverb has remained a go-to amp for countless players for going on five decades, and has earned its place in the annals of tone history many times over. Played clean but singing with a Telecaster, this is the sound of Roy Buchanan; cranked with a Les Paul, its pure Michael Bloomfield. It never gets extremely overdriven and dirty, mostly just louder“a lot louder. Double NRM: The Normal channel is the mellower of the two, with less gain than the Vibrato channel. Double VIB: The Vibrato channel is a separate preamp circuit with clipping characteristics that are different than the Normal channel due to an additional 12AX7 tube stage. ---------------------------------------------------------------------------------------------------------------------- '73 Hiwatt DR-103 [WhoWatt100] Although it might have looked somewhat Marshall-esque from the outside with its black, business like British styling and four EL34 output section, the HiwatCustom 100 was a very different beast. When Dave Reeves began prototyping his Hiwatts in 1967 it was with the objective of building the best guitar amp available, period. A look inside a good Custom 100 shows you how thoroughly he achieved that goal (due in part to Reeves hiring of ˜mil-spec wiring spec Harry Joyce). With their immaculate wire runs, military-grade circuit work, and high-end transformers, Hiwatt amps achieved tones that ranged from multi-dimensional cleans to ungodly aggressive overdrive, all at unprecedented volume levels. This was the sound that propelled Pete Townshends Live at Leeds-era tone with The Who in the late 60s, as well as David Gilmour's soaring lead work with Pink Floyd in the 70s. Amp with a brilliant chimey tone and unique tone-stack. If you need more gain, crank the drive and master. This amp has a special Master, an additional gain stage between the master volume and the phase inverter, then the model matches this trait. ----------------------------------------------------------------------------------------------------------------------- '60s Supro S6616 [soup Pro] (it has only volume and 1 tone control, no master) With its single-ended 6V6 output stage, unusual preamp circuitry, and oval 6 x 9 speaker, the SuproS6616 of the late 50s and early 60s”manufactured by Valco in Chicago”might seem an unlikely candidate for œclassic amp status. Yet more of the stuff of legend, Jimmy Page has admitted to using a Supro amp to record most of the first two Led Zeppelin albums. The only problem is, he never copped to which Supro model he used. Talk about a real communication breakdown! Wind it up, and the S6616 offers juicy, brown overdrive that can sound like a raging stack when mixed with the track, yet with a character all its own. Reined in to clean volumes, it is beautifully spanky and crisp. And at all levels the 6 x9 speaker yields nodes and peaks that contribute to an unusual and distinctive sonic voice that has come to be known as the Supro sound. We don't know if this is ˜the one or not, but it sure sounds like it to us! (Dragon pants not included.) t its distinctively fat, thick, organic smoothie of tone has made it a go-to tool in studios around the world. ----------------------------------------------------------------------------------------------------------------------- '39 Gibson EH-185 [stone Age 185] (no mid, no presence, no master) EH-185 With its hot microphone input and a well-worn 12 field-coil speaker, this little 1939-42 combo has become a favorite of blues guitarists and studio players alike. This was the Gibson company's first amp designed for the electric guitar “ previous models were designed for Hawaiian lap steels, an extremely popular instrument during this era. Nothing else quite nails the round, warm, woody tone and easy breakup of its octal preamp stage and dual-6L6 output stage. The EH-185 makes a surprisingly versatile voice for sculpting anything from vintage jazz tones to raw rock n roll when cranked up, and sits beautifully in a full-band mix, both live and in the studio. Seminal jazzer Charlie Christian is believed to have moved up to an EH-185 combo before his death, about the same time that he stepped up from his original GibsonES-150 guitar to an ES-250. In a more modern setting, it has shared the stage with Queen Of The Stone Ages Josh Homme. After almost 4 months of daily Internet searches, Line 6 finally located and procured a Gibson® EH-185 for its HD (after for Helix) modeling collection. The immaculate specimen was boxed and shipped like a crown jewel and arrived safe and sound from its native Mississippi. Like kids at Christmas, anxious Line 6ers gathered 'round for the great unveiling. After some lightly rejuvenating spa treatment from one of LA's top amp techs, the EH-185 was modeled with incredible results. ---------------------------------------------------------------------------------------------------------------------- '58 Fender Bassman [TWEED Blues] (no master) Simply the crème de la crème of vintage amps from the 50s, the Fender5F6-A Bassman combo with 4x10 Jensen alnico speakers was the amp that started it all “ instant rock and roll tone. Originally a bass guitar amp, the Bassman became a blues and country staple for 6-string guitarists. Incidentally, when Jim Marshall built his first amps with Ken Bran they were heavily influenced by the early Bassman. Its 5AR4 tube rectifier aids in its outstanding dynamic response, and it boasts great touch-sensitivity thanks to a highly interactive three-knob cathode-follower tone stack. The Bassman doesn't have a master volume, so like all amps of this era, you had to crank this mutha up to get that dirty tone revered by all Bassman enthusiasts! As Buddy Guy, Bruce Springsteen, Jimmy Vaughan, and so many others would tell you, when you're talking vintage amps, the Bassman really is ground-zero for big-combo tone. Tweed Blues NRM: The Normal channel is the mellower of the two, with less (as you'd expect) brightness and gain than the Bright channel. Tweed Blues BRT: The Bright channel utilizes the second half of the first preamp tube (the Normal channel uses the first half only) for a different voicing. High frequencies are increased due to the addition of a bright cap across the volume knob. It has the fat bottom end you'd expect from a bass amp, but also has the Fender® twang on the top. One of the interesting things about the Bassman is just how interactive the Middle and Treble controls are. The Middle control isn't a bandpass, as in most tone control setups. Instead, it's almost like a second treble control. The two are additive, so if you're running your Middle knob higher than halfway up with this model, you'll find that the Treble control might give you more bright than you really want. On the other hand, when you turn the Middle knob down, you'll probably want to boost the Treble. The Bassman®, like many of the amps modeled didn't have a master volume. So to get the kind of tone that the Bassman® can deliver at higher gain settings, you had to crank it up loud enough to do some serious damage to anyone who might be standing close by. Now you can get that kind of tone at a bedroom or studio level ” or even through your headphones! Try a Drive setting of about 4 or 5 ” it's guaranteed to dredge up the best R & B licks you know. Tips: Master 10, Drive 3 to 5 aprox Try with a Booster Drive (Treble). ---------------------------------------------------------------------------------------------------------------------- Divided by 13 JRT 9/15 [Divided Duo] (it has his own 2 eq controls, 2 interactive volume controls, no presence, no master) Fred Taconne, a relative newcomer to the boutique amp market, but one that brings several unique twists to his designs, by referencing some of the more unusual tube complements of the past as well as combining unexpected feature sets”all in hand-built amplifiers of the highest quality. The company's JRT 9/15 is a case in point: using a pair of 5879 pentode preamp tubes (best known for their use in the Gibson GA-40 Les Paul Amp of the 50s), Divided by 13 creates two differently voiced but blendable channels for a simple yet incredibly versatile front end. Running this through one of two switchable output stages built into the same amp”a pair of 6V6GTs in class A for 9 watts, or a pair of EL84s in class AB for 15 watts”further augments this amps voice exponentially. The result is a palette of tones that remind you of the best American tweed and classic British amps, while somehow sounding entirely unique throughout their range. A single G12H30 Celestion Speaker. Each volume controls the two 5879 tubes. One is voiced with more gain and darker, the other is brighter with less gain ----------------------------------------------------------------------------------------------------------------------- Dr. Z Route 66 [interstate Zed] (no mid, no presence, no master) One of the most original and successful, designers and manufacturers in the contemporary boutique scene, Dr Z is known for establishing new tonal templates, rather than cloning the vintage standards. The popular Route 66 is perhaps the best case in point: based around a pair of KT66 output tubes (a ruggedized, military-spec version of the 6L6), with an EF86 pentode in the preamp, the Route 66 manages to make the most of high-end ultra-linear output transformers that are popular in the tube audio world, but have foiled guitar amp makers for decades. The result is an amp that achieves an extremely touch sensitive, full-bodied milkshake thick overdrive when pushed, without ever losing its impressive clarity and definition. In short, a new and original classic. The Route 66 features a simple tone stack, consisting of Volume, Bass, and Treble, which feeds a non negative feedback Phase Inverter, for true harmonic content and full output tube dynamics. It has a GZ-34 Tube Rectifier to complete the round enveloped tone. The amp has piano-like clarity with endless sustain, even at low volumes. Its 32 watts truly sing when driven hard in a focused, thick distortion, with a tightest bass response. Tips: Treble and bass operate regularly until 50%, and dial in gain once turned past 50%. To put this amp into overdrive, crank all three controls (Drive, Treble, Bass), use humbuckers and possibly an overdrive pedal. --------------------------------------------------------------------------------------------------------------------- '60 Vox AC-15 [Essex A-15] (it has only volume and 1 tone control, no presence, no master) Designed by D Denney for Tom Jenningss JMI company in 1957 and often lauded as the first tube amplifier specifically designed for the electric guitar, the AC-15 has been hailed as one of the juiciest distortion generators ever created, and sought after as a top-flight tone machine for five decades. With one channel utilizing an EF86 pentode preamp tube, a second utilizing an ECC83 (12AX7), luscious tremolo, and a pair of EL84s in hot cathode bias with no negative feedback (aka class A), it emits an extremely complex, harmonically-saturated distortion tone when driven hard, and classic British jangle and chime when reined in. The bloom, depth and dimension of this combo is further enhanced by its legendary speaker, the alnico Celestion Blue (G12 T530). An EZ81 tube rectifier contributes to its stunning touch sensitivity. Quite simply, this is one of the most copied amps in history, the inspiration to countless boutique designs, and truly a tone to die for. There was no master volume on the original circuit, and there is only one preamp stage before the signal hits the power amp. Normally, we put the master volume right before the power amp, but if we did this then we have the Drive knob and the Master Volume knob in pretty much the same place in the modeled amp circuit. So, for the AC-15, the master volume is post-phase-inverter in the full amp model. This allow the user to use the Drive knob to hit just the Phase Inverter tubes harder. However, in this amp the power tubes can distort a LOT. When this is combined with the fact that the preamp doesn't distort a whole lot on its own, it can produce a situation where turning the preamp up and the master volume down will clean up the sound quite a bit. The preamp barely distorts and the power amp distorts a TON. This is the opposite of many amps where the preamp is designed to distort and, while the power amp can distort as well, most of the crunch comes from smashing the preamp. ----------------------------------------------------------------------------------------------------------------------- '67 Vox AC-30 with Top Boost [Essex A-30] (it has his own cut tone control, no mid, no presence, no master) With four EL84s generating around 36 watts vs the AC-15s two EL84 at 18 watts, the AC-30 was originally designed simply as twice an AC-15 for British pop bands that needed the power to take them to the larger venues (and stadiums) that this new music was reaching. Through the course of the early 60s, however, this soon-legendary combo evolved into something very much its own. The EF86 pentode was dropped from the preamp early on, replaced by another 12ax7 ECC83, but the most distinguishing factor arrived in 1961 in the form of the highly interactive Top Boost tone circuit. First available as a back-to-factory modification, Top Boost became a standard option in 1964, and amps from that era”with a pair of Celestion alnico Silver Bell (G12) speakers”represent the archetypal AC-30s in the minds of most players. With a broad, blooming, three-dimensional tone and volume levels that belie its 36-watt rating, the AC-30 has been a cornerstone of tone for The Beatles, The Shadows, Tom Petty & The Heartbreakers, Brian May of Queen, Peter Buck of R.E.M., and many, many others. Model is based on* a Vox® AC 30. Music was changing in the early '60s and guitarists were asking for more brilliance & twang. So the Jennings Company, makers of Vox® amps, decided to add Treble and Bass controls (and an extra 12AX7 gain stage, incidentally) in addition to the Treble Cut knob it already had (which in actuality was a sliding bandpass filter that always seemed like it was working backwards); this additional circuit became known as Top Boost. The AC 30 with Top Boost was the amp made famous by many British invasion bands. Much of the unique character of the Vox® sound can be attributed to the fact that Class A amps overdrive in a very different way than Class AB. Brian May of Queen, Mike Campbell of Tom Petty's Heartbreakers, and The Edge of U2 have all used classic AC 30s to make their music. Although usually played fairly clean, a cranked AC 30 has a great saturated lead tone, a la Brian May on the early Queen albums. On this Amp Model, the Middle control acts like the original Cut knob on the AC 30. We plugged into the Hi gain input of the AC 30's Brilliant channel when creating it. An AC30 has no power amp feedback so it doesn't have presence controls. It has a "Cut" control which is basically an adjustable snubber on the phase inverter. Tips: Starting Point: Master 10, set Drive to taste, Mid 5 (50%) Instead of turning up Drive, try boosting the input signal before the amp. Cabinet suggestion: Alinco Silver Or use (or combine with) Marshall greenbacks (4x12 20w or 25w). Alternative: Red Wirez Vox and Marshall greenbacks, Ownhammer Blue and greenbacks ------------------------------------------------------------------------------------------------------------------------
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  37. I know it's happened in the past... and it seems to have happened again. My line 6 Monkey cannot connect to Line 6 Servers. I tried the three older methods of "fixing" the problem by uninstalling/reinstalling (including a registry clean). I also tried to deleting content of the app data folder (windows 7), as well downgrading to various older versions of Monkey. No joy. I'd really like to flash my new HD500x with the latest firmware... any help?
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  38. An upside to the Go though is that it does have some excellent effects. So even if you were to get a new unit for some reason, there would still be use from the Go as an FX unit; bypassing amp & cab, just using for the fancy reverbs, looper, etc., Competition - Boss GX-100 - Mooer GE300 - Headrush MX-5 - Valeton GP200 - Zoom G6 There's a bunch of also cheaper effects, at 1/2 the price, but even if somehow the sound quality of the cheaper units was great, I think all these lose out in flexibility, like ordering effects, PC software, colour screen, etc. Think I'd have a hard time choosing given the Go's alternatives today. Indeed, two years ago, going Go was the obvious and easy choice as there wasn't that much competition imho. Go's complexity The biggest drawbacks imho to Go is complexity. I'm still not super happy with the cab/mic and IR side. Out of my 100ish IRs, I'm often just scrolling and scrolling and the majority sounds like 'crap' to my ears. They may be imitating real cabs and real mics, but I don't really care, I'd just want 'good sound', I'm not really interested in being 100% accurate to the real thing; I'd just rather have a bunch of great sounding emulated/virtual cabs even if they aren't accurate to existing cabs. In fact, I was wondering if 'optimal' or 'virtual' IRs exist, some do; like mixes of different cabs... I'll definitely have to look into that. Cabs, mics, mics distance, IRs ... 99% of the time I'm messing with Go, I use the Best IR in the world, https://www.youtube.com/watch?v=BI6rovO03DA since yeah obviously it's the best IR in the world! I've not wrapped my head around cabs + mics. The cab + mic + distance is just too much for my brain (memory & understanding), and I can't get a good grasp / ability of thinking of a sound and getting it by tweaking the settings. Too many combinations of mics, cabs, add the distance, the hundreds of cabs and mics combinations, it's just too much for my brain. Do we really need so many cabs and effects? How many different compressors do you need? It's the same for the effects; amps, etc., it takes a long time to really know 1 effect (ex; dynamic hall reverb, or glitz, compressors.), so even after 2 years, I'm really far from being a PGO expert. Hell, Go is too much for my brain. I'd say I'm maybe familiar with ~10%; I'm starting to know some amps, effects, but I've got what, maybe 3 dozen patches I've built up, and maybe 6 dozen downloaded patches, and I'm mostly using the same ~10 favourite patches, which I'm still tweaking.. Who is Go best for? So in the end, maybe the Go is best for musicians, experts who really want 'real life' simulation. For an amateur like myself, maybe a simpler unit would have been best. How many cabs do we need? How many amps? If we had just 12 great amps, even if they're not based on real amps; bit like the Boss Katana or L6 Spider type of logic; 'brown sound', 'crunch', 'metal', etc., with like 12 amazing IRs, that would have been waaaaay better and sufficient for me. Maybe we don't even need cab/IR block in reality, you get some EQ capabilities with amps & EQs, I'd prefer having say 24 amps and no cab/mic block, vs 12 amps + 12 cabs. The 24 amps would be tweaked amp/cabs/ir combinations, so great sounding 'presets' for the genre, vs you having to find which combinations works and doesn't work; so; tweaked presets, vs you having to resolve the puzzle of what works/doesn't... So; someone having done the work to give you great Amp + cab/IR combinations, rather than you having to figure/tweak everything yourself. Do you need a PhD in Pod Go? Not really, Go is simple enough so that anyone can fiddle with it and get basic good sound in just a few minutes. BUT, if you want to extract the most out of the Go, and make it sound it's best, or exactly like you want, it's really not that simple. The devil is in the details. And IMHO, the more complex, the more true, and Go is extremely complex. Pre-conclusion So yeah, imho Go is still a great unit in terms of sound quality, capabilities, etc., still a great option, but yeah I don't really know the competition, which seems somewhat overwhelming/overtaking the Go. Think yeah the go is starting to be a bit underpowered from some of the comparisons I've seen... Hell.. I said I wasn't looking for an upgrade... But thinking, maybe I'll start looking at the details of what's out there. Is tweaking Go fun or work? And honestly, the reason is that PGO feels like work. It's like getting a PhD in PGO. And using the Go 'correctly' is using a bunch complex formulas; it really does feel like work in a sense. You can mess with effects/settings/etc., but it's always frustrating that everything is always so complicated; like a simple thing; a stupid mouseover which explains what a setting is................ Instead... It's having to get on the computer and do a web search for w-t-f a setting does .......... That's not fun.......... And in the end, you're all too often overwhelmed. So... Meh... Future? So yeah, ditching that for a simpler unit honestly feels somewhat exciting. If somehow you're getting improved sound quality, huge bonus, but in the end, since getting the best out of the Go is so complex............. You're going to get better results if the unit is simpler to use. Like the Dynamic Hall......... I've been wrestling with it for a couple of weeks. Sure, I've managed to make it sound good, but it's always like i'm missing the last 10% that I just can't get quite right... Ex; videos demoing sound, the reverb will sound better to my ears on the video than on my Go it seems........! Conclusion So yeah, if getting to the finish line is made easier by having less options/complexity; a simpler unit helping you to get great results without overwhelming you with a gazillion options, that would be best for me. That may be the Go's biggest drawback for myself. It's not the lack of outputs, parallel paths, multiple amps, not enough DSP or blocks, sound cut during patch change, etc., it's just that the thing is a bit of a pain to use due to its complexity. (Not as per switching amp is complicated; but so many amps and so many amp settings, or so many effects and so many nebulous effects settings, etc.)
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  39. I have 2x HX Stomps. 1 has never given me any issues. The other has had this drop out issue. It got sent back about a year or so ago and they did something to it. The screws were tampered with. It came back with newer firmware than was available at the time and didnt have any issues until recently when it started doing this again. Both of them have always used the L6 power supply as I had room under the board to tie it down. Its started doing this again but Ive always just plugged in a master power supply cable and everything powers up from that. Ill try letting the rest of the board start up before turning on the L6 and see if that helps.
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  40. Same happens to me. This past weekend, the sound went silent right before downbeat of the 1st song at a live show. Very frustrating & embarrassing! It wasn’t the cable, or a problem with the guitar or anything. This problem happens to me and usually the only fix is to turn power off/on but even that didn’t work this time & ended up having to go direct thru DI and had to skip using the Stomp altogether. Again, so frustrating to use this unit at gigs not knowing if it’s gonna get thru the entire show. Unreliable!
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  41. Same problems for me! After playing for a longer time with USB connected and changing presets the sound is gone and sometimes everything freezes. Today I restarted immediately and disconnected the usb (before restart) After a few preset changes the same bug again. I could repeat the restart and sound gone after preset changes for a few times. But when I waited a little longer before restart everything works as normal. (But of course the bug shows again when playing a little longer and changing presets then.) I had this problem from the start and opened a support ticket in April. Everytime i explain the bug but only get new instructions. Well of course I try it (because I am really interested in getting this fixed. I like the concept of the HX Stomp!) But now after 4 months I am tired of trying new things. I started with firmware 2.82 and now my unit is in 2.92 I bought this expensive device to have a great experience but it is really the opposite.
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  42. Line6 please provide linux Native Builds!!!!
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  43. The gateway to success is this tiny circle with the ellipsis (...). Click it. Search the manual for "Using the Preset File Menu" to understand these options. Manuals for different versions will have different page #'s for the same text. Import/Export is simpler, and separate, but I'm not covering that here.
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  44. Is it possible to get the Mark IV describtion in English? I dont understand spanish
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  45. Script Mod Phase Rate 1.5 Mix: 50% Level: +1.0dB Gray Flanger Rate: 3.0 Width: 4.0 Manual: 4.0 Regen: 10.0 Mix: 50% Level: 0.0dB Both in front of the amp.
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  46. https://soundcloud.com/user-512214365/sonico-pod-hd-ezdrummer2 Pod HD model packs amps adds and Helix Amp sim: Fender Champ (US Small Tweed) No Master-->100%, No Presence--> 0%, No Mid*, No Bass, No Treble *In the tweed champ, the bass and treble are after the amp modeling, but the midrange control is between the two preamp gain stages. The midrange knob can become a cool drive feature. The Fender Champ was a guitar amplifier made by Fender. It was introduced in 1948 and discontinued in 1982. An updated version was introduced in 2006 as part of the "Vintage Modified" line. The Champ had the lowest power output and the simplest circuit for all of the Fender tube amps. The Champ had only one power tube, which meant that the circuit is single-ended and class A, single-ended (single 6V6 tube). Five watts and the simple toneful circuit allowed the Champ to be used easily and often in recording studios. Tweed amplifiers typically break up earlier than later "cleaner" models and are known for their warm-sounding overdrive. ------------------------------------------------------------------ Bogner Shiva (German Mahadeva) based on 6L6 Model, channel 2 6L6 models are 60 watts and have a touch more lowend/highend extension that's more American-style. The beauty of the Shiva is that it takes what Marshall did in the 70s and 80s and adds some modern appointments so that the user can achieve tones ranging from classic rock to heavy metal (the utilization of the boost feature works wonders here). One thing is constant, though: Swirling notes. It is hard to describe, but the Shiva has a midrange character that results in what sounds like a light swirling of each note and chord that creates a very harmonically rich tone. Tips: Bogner around noon (50%) are dark, it's like turning the treble way down on a Marshall. The treble knob at 50% on a Bogner is equivalent to the treble knob at 10% on a Marshall. If you turned the treble up to 8 or 9 it would sound a lot like a Plexi. --------------------------------------------------------------------------------- A-30 Fawn (Vox AC-30 Fawn) No Master, No Presence, No Mid, No Bass, No Treble Vox redesigning the initial preamp of the AC-30. The troublesome EF-86 tube was replaced with a battery of ECC83 (12AX7) tubes. A third channel was also added. By the end of 1960, the initial AC-30 was phased out in favor of the new AC-30 fawn. The Beatles first recordings in the Abbey Road studio used a fawn. The early version of this AC-30 was covered in a tan or "fawn" vinyl that was as thin as wallpaper. A single tone control rolled off the treble on all three channels simultaneously. Individual treble and bass controls were not included in the stock version of the AC-30/ Fawn. An optional factory installed, rear panel mounted "Top Boost" circuit became available in 1961. This circuit added a treble and bass control to the "Brilliant" channel, but not in this fawn model. The amp also featured two 12 "Celestion Alnico Blue speakers. The Celestion Alnico speakers in the earliest production of the AC-30 Fawn might not have a magnet cover and might be tan, rather than blue. Normal Channel Brillant Channel On-top-boost model. Both the bright channel and the normal channel each, only hit one preamp stage before going to the phase inverter in the power amp. All of the saturation of this amp comes from the power amp, and it can get pretty dirty. The bright channel is pretty bright when run clean, but that brightness when driving the power amp results in a wonderfully rich and harmonically complex overdrive. It's quite responsive to saturation with picking dynamics and volume knob control. Turning up the Bias knob reduces crossover distortion the best, but there are no wrong knob settings. If you like the sound coming out, the knobs are set right for you. ----------------------------------------- Orange OR80 (Mandarin 80) No Master, HF drive=Presence Controls: FAC(mid range tone control by 6 pos switch) - Bass - Treble - H.F Drive(presence) - Gain Year: 1974-75 Model: OR80 Output: 80 Watts Preamp tubes: 12AX7 Power tubes:EL34 Bias: Fixed bias Rectifier: solid state Phase Inverter: Cathodyne type: 1/2 x 12ax7 The F.A.C. control stands for Frequency Analysing Control. It is a mid-range sweep that offers many variations on the Orange sound. Experiment with different settings for a variety of sounds. It is basically EQ settings from bassy all the way to the left and getting progressively thinner as you go to the right. Most people, set it all the way to the left or one click to the right from that.The FAC control switches between different interstage coupling capacitors which will change the low frequency cutoff/rolloff point of the preamp. In other words, it cuts bass increasingly with each click clockwise. The HF drive is a presence contol, that boost/atennuates very high frequencies, comparing to other amplifiers. It's in between gain stages (2 to 3), so it does afect drive. You can call it a drive control, like the Eq, that is between stage 1 and 2. ------------------------------------------ Peavey 5150 Block Logo (PV Panama) The Peavey 5150 is an all-tube guitar amplifier 1992 on, initially as a signature model for Eddie Van Halen. The Peavey 5150 has four Tube 6L6 Power Tubes, and five 12AX7 Tubes in the preamplifier staging (with one as a phase inverter.) Despite its shared "plain" PCB, each component was generally high quality, allowing manufacturing ease while providing high quality tone. A defining attribute largely responsible for the 5150 sound is the fixed bias, set to a lower value which resulted in the Power Tubes running at a lower energy commonly known as "cold-biased", resulted in a more controllable gain setting, allowing such a heavy amount of gain to be applied without sacrificing tonal definition. Excellent frequency response (largely attributable to the vacuum tube amplification), and clarity with heavy gain. Its cultural significance in Hard Rock, later Metal, as a unique product with a unique tone. Well known for its high gain overdrive channel, and has seen widespread use by rock, hardcore and metal guitarists. An early breakthrough was its use by Colin Richardson and Andy Sneap, two "seminal" British producers of heavy metal; especially Machine Head's Burn My Eyes (1994) helped the 5150 gain a reputation for its sound, which "defined a generation of guitar tone". --------------------------------------- Roland JC 120 Jazz Chorus (Jazz Rivet 120) No Master → 100% No Presence → Exception, neutral in this case should be 50% instead of 0. Bright Roland Jazz Chorus is a solid-state instrument amplifiers produced in Japan since 1975. Its name comes from its built-in analog chorus effect. The Jazz Chorus series became increasingly popular in the late 1970s and early 1980s new wave and post-punk scenes because of its clean yet powerful sound, durability and relatively low cost when compared to the more commonly used amplifiers of the time such as Marshall or Fender. It also found favour amongst funk players in America. It also became popular to use for clean tones in heavy metal, with the most famous users being James Hetfield and Kirk Hammett from Metallica. The Jazz Chorus is one of the most famous and successful combo amplifiers from its period and its earliest users included Albert King, Andy Summers (The Police), Robert Smith of The Cure and Siouxsie and the Banshees and Pat Metheny. Engage the Bright switch to add some bite, add a chorus after the amp to simulate the stereo chorus. --------------------------------- Ampeg SVT (before was called SV Beast, but now is Ampeg SVT) - Bass Amp No Master, No Presence The Ampeg SVT is a bass amplifier made by Ampeg. The SVT, which stands for Super Valve Technology, was designed by Bill Hughes and introduced in 1969. The SVT bass head produced 300 watts at a time when most amplifiers made less than 100. The SVT has been through many design changes over the years but is still in production today. The SVT head was initially coupled with a pair of sealed 8x10" speaker enclosures because one cabinet could not handle the power of the SVT. Later on Ampeg updated the speakers in the enclosures so that one cabinet was sufficient. For 30 years now, we've heard the tone and felt the power of the mighty Ampeg SVT that model is based on. This workhorse has appeared on innumerable recordings and arena stages worldwide there is no equal to the original SVT of pure tube magic. The SVT set the tone, punch and arena-rattling standard for all future big gun bass rigs. Its users have included everyone from The Rolling Stones to Van Halen, and pretty much every rock bass player in between. We selected a 1974 Ampeg SVT, and we've also given you a 70's SVT 8x10 speaker cabinet to pair it with. The sonic combination of this head and cab is beyond big, but you had to pray that your bandmates would help you move it! Thanks to line6, you can now get big classic rock bass tone without frequent visits to the chiropractor. Channel Normal Channel Bright ------------------------------------------ Gallien-Krueger GK 800RB (G Cougar 800) - Bass Amp No Presence, Crossover freq Designed 20 years ago, the 800RB has long been a standard of the industry the choice of countless bass players, touring bands, and backline companies. The amplifier head delivers 400W of biamp power in a rackmountable metal case, 3 voicing filters. Great deep, punchy sound. Roadworthy and studio friendly. A legendary bass guitar amp that has proven its worth over several decades. What would any collection of bass amps be without a Gallien-Krueger 800RB? This model is based on the solid state amp that helped define what new bass amps sounded like for the better part of that decade. Geddy Lee had one. Will Lee used one on Late Night With David Letterman. And bands like Def Leppard powered through a decade of pop metal with the 800RB. The GK 800RB produces a very scooped sound, and doesn't really distort. Try pairing this amp with another legend of the Eighties, the Hartke 410 cabinet. This rig is known for producing what we call the mid 80's metal bass tone. It's the perfect choice when you're ready for a little Pyromania.... Low cut, contour, and high boost switches Boost with jack, and LED crossover with switch High and low master
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  47. https://soundcloud.com/user-512214365/intruso-pod-hd-ezdrummer '65 Marshall JTM-45 [bRIT J-45] (no master) --> Defualt setting 10 The JTM 45 was the first Marshall ever made back in the early 60s. It was built from 1962 up to 1966. It didn't actually have a model number at first, but later it was called a JTM45 (which got its initibls from Marshalls son Jim Terry Marshall).. It has KT66s tubes a tube rectifier, and no master volume and is around 30-45 watts. the JTM 45 had a common biased preamp section, had the same gain in the first preamp stage for each channel, one bright and one dark channel for added bass response. Were equipped with 6L6 (5881/KT66) tubes that provided a more open and less heavy distortion. Clapton used it for the Bluesbreakers album probabally making it most famous there. Its supposed to be really good clean with a good marshall breakup too. One of the earlier amps that, as mentioned above, found its inspiration in the tweed Fender®Bassman®, but nevertheless managed to sound like something quite different as it took on several constructional twists and design elements that marked the beginning transition from a mellower Fender like tone to the distinctive, bright crunchy sound of all Marshall® amps to follow. Hefty, high-quality British transformers and KT66 output tubes (a 6L6 equivalent, but with more power and punch) gave the JTM-45 a huge soundstage and a smoother overdrive tone than the later EL34-based Marshalls that more players are familiar with today. Cranked through a closed-back 4x12 cab with Celestion G12M Greenback speakers, this rig evokes the archetypal Brit-rock and blues-rock guitar tone. Interesting side note: this is the exact same amplifier as the Marshall Bluesbreaker that Eric Clapton made famous, but in head form, rather than housed in a 2x12 combo. This is your starting if you are looking for that beano tone. Brit J-45 NRM: The Normal channel is the mellower of the two, with less (as you'd expect) brightness and gain than the Bright channel. Brit J-45 BRT: The Bright channel utilizes the second half of the first preamp tube (the Normal channel uses the first half only) for a different voicing. High frequencies are increased due to an inter-stage high shelving filter It's a nastier, brighter Fender Bassman. Great clean, for dirty blues, up to Angus Young type stuff. Tips: It's a bass-heavy amp ; Decreasing Bass could be a good tip. Great for clean tones as well as rock tones ----------------------------------------------------------------------------------------------------------------------- '65 Marshall Plexi 1959 Super Lead 100 (BRIT PLEXI) (No Master) Tthe stack four inputs, EL34 tubes Both the Normal and Bright inputs of this legendary Marshall 100 watt beast. First produced in 1965 (note that the 959 is a model number and does not indicate the date of manufacture) is often referred to as the original Plexi, featuring two channels and four inputs. It was utilized by Pete Towsend, Eric Clapton, and most famously, by Jimi Hendrix at his Woodstock performance. Brit Plexi Nrm : The Normal channel, as you might expect, offers a flatter EQ response and a bit lower gain, well-suited for rhythm playing. Brit Plexi Brt: The Bright channel features a boosted, brighter tone, which is ideal for a more cutting lead tone Brit Plexi Jump: Normal channel + Bright channel jumped from imput. Guitar playing is all about experimentation, isn't it? That, and finding all the possible ways to get more distortion out of whatever gear you have at hand. One of the fun things you can do with a Plexi is take a short guitar cable and jumper channel I and channel II (as they're frequently numbered) together for a little extra saturation. Some guys loved this sound so much that they pulled the chassis and permanently wired a jumper into the amp. Being the obsessive/compulsive tone freaks we are, we just had to give you the Plexi Jump model to give you a sound based on of this setup. Modeled after* the infamous '68 Marshall 'Plexi' Super Lead. By the time this amp was built (ca. 1968), Marshall had completely changed the circuitry away from the Fender 6L6 power tube heritage and moved to an EL34 tube. Another major tone difference was due to the necessary output & power supply transformer changes. All this mucking about added up to create a tone forever linked with Rock Guitar. Amps of this era didn't have any sort of master volume control, so to get the sound you'd have to crank your Super Lead just the thing to help you really make friends with the neighbors. Hendrix used Marshalls of this era; a decade later Van Halen's first two records owed their "brown sound" to a 100-watt Plexi (Our Super Lead, in fact, has the 'lay down' transformer that was unique to '68 models, the same as Hendrix and Van Halen's Marshalls.). To get a crunch sound out of a Plexi, you would likely crank the input volume and tone controls. You'll find that, in keeping with our "make-it-sound-a-whole-lot-like-the-original" concept, this model is set up to do pretty darned near the same thing. Tips: Plexi is supposed to sound fizzy (it's helps to cut through in a mix). Don't be afraid to turn the bass all the way down or the treble all the way up. Just like with the actual amp. For example, on the normal channel of a Plexi most people turn the bass way down. Otherwise it's too flubby." Settings for a "typical" Plexi tone could be aprox. Bass: 2, Mid: 8, Treble 7.5. Presence adjust to taste. ----------------------------------------------------------------------------------------------------------------------- '71 Park 75 [bRIT P-75] (no master), brightness=presence? Were manufactured by Jim Marshall from the mid 60s until the late 70s as a means of circumventing an exclusive English distribution deal for the amplifiers bearing his own name. It got its name from the dealer Johnny Jones wifes maiden name, Park. These amps have become legendary in their own right, but none has quite attained the status of the beefy Park 75. Although they were usually based loosely on circuits used in classic Marshall amps, Park models were often given clever new twists, such as the increased front-end gain in the 75 and the use of military-grade KT88 output tubes rather than the traditional EL34s. Our specimen comes paired with a 1973/74 speaker cabinet loaded with four Rola Celestion G12H speakers. Add it all up, and its a sizzling, crunchy plexi-style tone like nothing you've ever heard before, equally adept at classic British blues-rock and contemporary grind. Line 6 snatched up its Park 75 during an amplifier recon trip around Southern California. On the hunt for another piece of gear, Line 6ers noticed the Park 75 peeking out from behind other amps. A rare find (according to legend, only 300-400 were ever made), the amp was in great shape and its cab was complete with original Fane speakers. A short test-drive was all it took for the recon group to fall in love with the vintage vibe that sounded as good as it looked. Brit P-75 NRM: The Normal channel is the mellower of the two, with less (as you'd expect) brightness and gain than the Bright channel. Brit P-75 BRT: The Bright channel utilizes the second half of the first preamp tube (the Normal channel uses the first half only) for a different voicing. High frequencies are increased due to an inter-stage high-shelving filter. ----------------------------------------------------------------------------------------------------------------------- '82 Marshall JCM-800 [bRIT 2204] As Marshall amplifiers evolved through the course of the 80s, the JCM-800 (1981-90) came to stand out as the new flagship of the range. While the 2210 version”previously modeled by Line 6 was enjoyed by many for its 100 watts of power and two foot switchable channels, the 2204 50-watter EL34 came to be known as the flag-bearer of classic Marshall tone. With its one, dual-input channel, added versatility of its Pre-Amp Volume and Marshalls new Master Volume control, the JCM-800 2204 was otherwise not a stones throw from the hallowed plexi and metal panel 1987 Lead Models of the late 60s and early 70s, although its front-end gain could be tapped more easily without blowing your head off. Cranked through a closed-back 4x12 with Celestion G12T-75 speakers, this is the pure sound of 80s rock, the amp that propelled countless hits from that decade and beyond. Turn to this Amp Model to conjure up tones of the coveted JCM 800, one of Marshall's most universally acclaimed modern amps. This updated version of the Plexi continued Marshall's heritage with added gain and edge for a new generation of rock guitarists. One of the biggest differences here is that the tone controls are located after the preamp tubes. Tips: Turn up Master Volume. Try with a low-gain TS808 or Tube Drive. The real amp is too bright, you can adjust the various tone controls and parameters to reduce the brightness to your tastes presence normally way down. They are designed to be run loud and the brightness decreases as the MV is increased. Designed to get their character from power amp distortion. If you don't push the power amp all you are hearing is the preamp which is voiced to be trebly. The power amp then compresses the highs and the sound gets fatter, but MV too high and will get muddy. The sound of 80's hair metal,treble boosting amplifies the upper frequencies, however, that treble boosting helps the sound cut ----------------------------------------------------------------------------------------------------------------------- 2002 Bogner Uberschall [GERMAN UBERSONIC] Plenty of amps have fought it out to be baddest of the bad in the high-gain stakes, but the Bogner Uberschall is as heavy, mean, and downright evil sounding as they come. With a whopping four 12AX7s worth of preamp gain, plus two more for FX loop and phase inverter, rammed through a quad of EL34 output tubes, the Uberschall (German for super sonic) was designed to be Armageddon in a box. A take-no-prisoners distortion machine for the most aggressive shred and nu-metal players on the planet. In addition to its unprecedented levels of highly saturated gain, this amp packs the eviscerating bass response needed to put this kind of music across on the big stage. This model is reminiscent of an 800, modded for heavier, grinding lows and what some call insane gain.  The presence knob on the Bogner Ubserschall is more like a contour, affects most of the midrange as well. Tips: Heavy grinding lows and insane gain, it could be too boomy (low cut). From Real Amp manual: starting point control values, gain 60%, bass 60%, mid 60%, Treble 60%, Presence 60%. Keep the Master volume low (5 or less). Turn up Presence, add Mids Bogner manual: "One of the most unique items is our "Presence" control. It's an amazing combination of a midrange-presence control. As you sweep through its range you will notice an incredible variety of tones this one control allows. For an extremely aggressive sub-harmonic bass and scooped-midrange sound, keep the presence off or very low. A huge 3-dimensional tone can be found by running the presence around 2 o'clock. Pushing the "Presence" control to maximum will allow you to cut a sonic path through the mix by reinforcing your midrange and slightly rolling off the sub-bass. Trust us: REALLY check out the presence control to unleash the hidden secrets of the UBERSCHALL. The "Midrange" control is very interactive with all the other tone controls, you can go from a hollow scooped-mid setting to an aggressive in your face and on your throat kind of intensity. The "Bass" control allows almost a sub-harmonic low-end to be added, at high volumes be sure to keep the bass down a bit to keep your tone focused like a laser beam" ----------------------------------------------------------------------------------------------------------------------- 2001 Mesa Boogie Dual Rectifier Solo [CALI RECTIFIRE] Mesa/Boogie almost single-handedly, and simultaneously, established the custom amp (aka boutique) and high-gain crazes in the early 70s, and has continued to set the pace for nearly four decades. As the new standard for grunge and alt-rock amplification, the Dual Rectifier pushed this pedigree forward to the new millennium, and its high-gain third channel established the tone to beat for the 90s and early 00s guitar rock. With broad control over its drive and level, and a versatile tone stack, it can go from thundering, scooped crunch to soaring lead tones with a creamy midrange, all with crushing volume and authority. Others have come and gone, but the Dual Rectifier continues to earn its place on the big stage, and to exert its authority over lesser amplification efforts. Class AB, 6L6. Modern setting. Amp Model is based on* a 2001 3 Channel Mesa/Boogie Dual Rectifier Solo Head. The Dual Rectifier was part of Boogie's more modern, high gain approach for that "big hair" sound. In contrast to the earlier Boogies, the Dual Rectifier's tone controls have more influence at high gain settings, so you can scoop the mids and increase the bottom end. We used Channel 3 on the Modern setting for this one with the rear switches set to Bold and Tube Rectifier, respectively. Tips: Real Rectos are bassy/fizzy beasts but that tone works great for certain genres This is based on the Modern mode, so be very careful with the Master parameter. If you turn it up too high it will flub out really quick. If in doubt reduce the MV (because there is no negative feedback, the power amp has a lot more gain and a huge bass boost). --------------------------------------------------------------------------------------------------------------------- 2009 ENGL Fireball 100 [ANGL Meteor] Mid boost Great for aggressive, drop-tuned riff work, Based on* 2009 ENGL Fireball 100 (German) Designed to redefine the stereotypicalshred sound and dial in a more musical lower-midrange and bass response, the ENGL Fireball 100 has become one of the new standards of contemporary rock and metal. Using a quad of 6L6 output tubes for mammoth lows and gut-thumping punch, and four 12AX7 preamp tubes for scorched-earth gain levels, the Fireball 100 nevertheless brings great refinement and articulation to this aggressive genre, boasts surprising versatility, and has earned its keep in the rigs of several cutting-edge shredmeisters (Ritchie Blackmore, Steve Morse). Tips: Since the Treble and Presence control knobs sweep through different frequency ranges and influence the signal at different places in the amp's internal signal chain, you can dial in different combinations of treble and presence settings to come up with many interesting sonic variations. ------------------------------------------------------------------------------------------------------------------------ '93 Soldano SLO-100 [sOLO LEAD] Noted for its hot-rod chrome chassis and aggressive rhythm tone. Normal (Clean / Crunch) and snarling Lead channel,100w, 6L6 tubes. Now considered a modern American classic, have made it the heart and soul of many of Rock, Metal, and Electric Blues, Mike Soldano created his flagship Super Lead Overdrive 100 (SLO-100) amplifier in 1987 and continues to hand-build it to this day. The SLO-100 was made an instant hit by early adopters Eric Clapton and Mark Knopfler, and used by a range of players, including Warren DeMartini, Warren Haynes, Lou Reed, and Eddie Van Halen. Much of the love for the SLO-100 is due to not only its juicy high gain tones, but also its clean and crunchy capabilities, making it an extremely versatile head. The SLO-100 features two channels, Normal and Overdrive, with a Clean / Crunch gain switch on the Normal channel. We loved the different characteristics of this amp so much that we created three separate models! Solo Lead Clean: This model of the Normal channel switched to Clean provides the most headroom and a variety of warm to shimmery clean tones. Solo Lead Crunch: Here we've modeled the Normal channel switched to Crunch, which is superb for a range of distorted textures from polite to aggressive. Solo Lead Overdrive: A model of the Overdrive channel with some seriously tight bottom chunk to liquid, screaming lead capabilities. Mike Soldano first came to fame as the guy who could do all the really cool mods to your Marshall. It wasn't long before he started building his own 'hot-rod' amps ” sporting chromed transformers and chassis, no less. Mike's amps are also famous for their bullet-proof construction and military spec wiring and components. While primarily known for its high gain personality, the SLO-100 has a great clean tone as well. Eric Clapton put Soldano on the map when he played "Saturday Night Live" with his Soldano SLO-100. Tips: Those amps are all designed to get their character from power amp distortion. If you don't push the power amp all you are hearing is the preamp which is voiced to be trebly. The power amp then compresses the highs and the sound gets fatter. Many people find SLOs too bright. It was designed as a large stage/stadium amp. Running one at your local pub is going to give results that are very thin and buzzy, best tones achieved by increasing the master and backing off the preamp, just like the real deal. The key to an SLO100 is to run the MV high so that the mids thicken up. Otherwise it's a shrill mess. In certain contexts with the right IR it can be a cool sound. Rectifier preamp is a derivative of the SLO-100. Many times the knobs aren't "centered". If you put the Treble knob at noon it isn't actually at 50%, in the case of an SLO100 it is intentional. On an SLO100 all the way down is around 8:00 and all the way up is 6:00 so 50% is around 1:00 not noon." ------------------------------------------------------------------------------------------------------------------------ '60s Ampeg B-15NF Portaflex [ before called Tuckn' Go, but now Ampeg B-15NF ] -Bass Amp (no mid, no presence, no master) Get sweet and lowdown with this model of the honorable 60s Ampeg B-15F bass amp, complete with the Custom Design, CTS 15 inch speaker. The unique Portaflex design consisted of the tube amps electronics being mounted on a chassis that flipped over (hence our nifty model name) to secure as part of the speaker cabinet, intended to offer the portability of a combo, without the over-heating and rattling problems associated with combo amps of the period. Ampeg founder Everett Hull was not a fan of Rock n Roll music, and thus conservatively rated this amp at 30 watts, to encourage its users to keep the volume at sensible levels to avoid distortion. But we think this versatile low-ender sounds just as great turned up for some throaty growl. All-valve bass - 25W RMS , speaker 1 x 15" custom Eminence, preamp 3 x 12AX7, rectifier 1 x 5AR4 or 5U4G, power amp 2 x 6L6GC Its tuned and front-ported, has a closed back, is 25 watts with a single 15-inch speaker, and set a new standard for cabinet and speaker efficiency, tone and convenience in bass amplification. If we had to sum up the amps sound up in one sentence, we would simply say: Listen to James Jamersons bass playing on the Motown/Tamala records of the 1960s ” The Supremes, The Four Tops, The Temptations, Marvin Gaye, Stevie Wonder, and many more. Jamerson played bass on more Motown hits than anyone else, and his choice for amplification was the Ampeg B-15. We think you'll agree that the sound of his P Bass through that amp on those records is as fresh and exciting today as it was 35 years ago. And if he's not enough to convince you, how about Duck Dunn! Don't get us started.... ----------------------------------------------------------------------------------------------------------------------- Line 6 Elektrik This high-voltage, face-melting original has interactive presence & mid-range controls, with more gain than you can shake a stick at. It has something from the first Bomber Uber. ----------------------------------------------------------------------------------------------------------------------- Line 6 Epic A metal-freindly beast that provides sustain for days at virtually any playing dynamic, giving up gobs of distortion with ease. We did it in small doses throughout the length of the preamp. It's based on the Soldano lead channel, but with more gain and a smoother transition into clipping on all the gain stages. This means that as sustained notes decay they don't "fall out" of distortion. It's unrealistically smooth. This is why players will still put an overdrive in front of a high gain amp; to get that kind of "liquid lead" sound. ----------------------------------------------------------------------------------------------------------------------- Line 6 Doom Heres a hybrid to fill a void for doom/sludge players. It's a JCM800 preamp going into a Hiwatt power amp with some additional tweaks, to give you large amounts of gain and a rich, sag-induced reaction with a whole lot of bass. -----------------------------------------------------------------------------------------------------------------------
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  48. There is this guy who makes IRs (7 guitar cabs pack available for download) from original sound track (mainly metal band): https://www.youtube.com/playlist?list=PLNsITtzHwH2iRyaoEAqS9sg5WckfPp8CR I tried the Metallica and System of Down ones, they sounds great. He also explain how to create them with a DAW and some other VST pluggins on his Youtube channel https://www.youtube.com/watch?v=Q1nNAQL_6mQ Based on his explanation, I was able to make my first IR, of the Nirvana song's Breed with these tools: DAW Presonus Studio One, (I'm using Pro version, but there is a free one avail. (http://https://shop.presonus.com/products/studio-one-prods/Studio-One-3-Prime) Voxenco Deconvolver app (http://www.voxengo.com/product/deconvolver/) Voxengo Curve EQ (http://www.voxengo.com/product/curveeq/) and Helix for reamping (instead of TSE 808 / TSE X30 VST pluggins as suggested in his video)
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