Jump to content

Leaderboard

Popular Content

Showing content with the highest reputation since 05/23/2021 in all areas

  1. - Quit HX Edit! Don't start it again until you're finished with everything following. - Go here and download the Line 6 Updater (in case it's not installed on your machine already): https://line6.com/software/ - Also download the "Flash Memory" from there (it's the actual update). - Install the updater. - Reboot the Helix while holding down switches 6 and 12 (this will take you to safe boot mode). - Start the Line 6 Updater, select "Offline Mode" and see whether it finds your Helix. - If yes, select it and choose "local file". Point it to the Flash Memory file you've downloaded.
    30 points
  2. FIrst of all, I'd like to say thank you to everyone here that is helpful in their responses, but also those that ask questions that also prompt myself (and others) to approach things differently and explore a bit to educate yourself about rigs/blocks/effects etc. Big shout out to those who post video tutorials (Jason Sadites to name a primary one for myself, and others who just escape me at the moment). Those tutorials have helped me think about things and approach things without a guitar in my hand and allowed me to really do some neat things. Why all these words? My Stone Temple Pilots band had our first headlining show this past weekend. While the venue was, a'hem, not the grandest.....the crowd was into our setlist (after another band opened for 2 hours). All that is great....but my real satisfaction comes from programming my Helix and being happy with it, but also being efficient and well prepared for sound guys as we do not run our own sound and I dont like to let that control go away easily. HOWEVER.... While we performed great.....at the end while tearing down, I asked the sound guy (who I had already qualified as a great guy, knowledgeable, geeky like me with gear, and an overworker in his field compared to others) how my guitar sounded...and he said it sounded great. I asked what he did to help me get in the mix to file that information away when I make my next adjustments...and his response, "Dude, I didn't have to touch your guitar. I ran your guitar flat. Thats the first time I've ever run a guitar players rig flat. Anyone that has to EQ your guitar in a mix, needs to retune their PA!" I immediately put my arms in the air, and with a fist pump added a 'F*ck yeah'!! I then asked how my lead boosts were, and he said they were great. He literally had to do nothing to my guitar all night. I've never felt such satisfaction from a group of 25 presets in my playing life. 30 years, 16 of that is running direct (Boss, Line 6, Fractal). Just wanted to share as it was 2 days ago and I'm still proud of those comments. Edit: Oh, and yes....for those that say the stock cabs aren't good enough. Maybe in a studio realm they lack something a special IR does have. But my presets in this set all used 2 stock cabs in parallel.
    10 points
  3. The article is called Understanding Helix Amp Parameters, and it's posted on inSync. The article also explains ways to hear how changing parameters changes the sound - for example, how to use the 4 OSC Generator to hear how changing Bias affects the distortion characteristics. Another part tells how to hear sag in isolation so you can compare the sag of different amps easily. I hope you find the info useful!
    10 points
  4. FWIW...I'm writing an eBook called "The Big Book of Helix Tips and Tricks" for Sweetwater Publishing. It includes pretty deep descriptions of the parameters for the more complex effects, and I've also done a lot of testing - for example, there's a frequency response graph for the three different tape speeds in Retro Reel. I've been working on the eBook for months, but I hope to get it published either end of October or early November. If nothing else, I needed to figure out what the parameters did for myself!! I think Helix is awesome, but felt I needed to know more in order to take full advantage of it.
    9 points
  5. Hello everyone, I just released an update to Helix Help, https://helixhelp.com, to match the 3.15 release. This includes all of the new models, release notes, and other information. Along with this release many of the models have been updated with better descriptions and some bugs have been squashed. I am currently working on some clean up/including some additional information. I hope you all enjoy firmware 3.15! It's a doozy! Jason
    8 points
  6. So you ordered a Floor and got a Stomp delivered?
    7 points
  7. FWIW regarding value-for-cost, the reason why it's an 320-page eBook and 230 presets/favorites package was because I felt that if someone never read the book but only used the presets, or only read the book and never used the presets, they'd still figure it was worth $19.95. Even beginners can load and enjoy presets, although I believe the "holy grail" is knowing enough to modify presets for a person's individual needs...hence the book. Some people thought it was a mistake to do a package that combined a book and presets, and that they should have been two separate products for $19.95 each. But, I felt including the presets added value to the book, because people could read about techniques, load presets to hear the techniques, and learn enough to modify the presets if they wanted to put their own spin on things. It seemed like a good idea at the time, but in retrospect I think the book has taken attention away from the presets. Although some of them are designed specifically to complement material in the book, many of them are intended to work as stand-alone presets.
    7 points
  8. Let me start with the amp.... I've owned two Hiwatts over my career... and the Helix NAILS IT, but not with the default settings. . Crank the master setting in the amp up to 10. Raise the mids to about 9 Raise the DRIVE to about 5-8 for humbuckers, 7 - 10 for singles coils. Adjust to dirt level tastes. Leave the other "amp" settings. Now the cabinet The internal 4x12 Fane Who Watt cab is great... it's the default MIC that is not! Change the mic setting to a ribbon.... I use the 121, but all the ribbons are great. Set the distance to 5" Set the early reflections to about 50% Too me.... that's a Hiwatt Tone I am very used to and is extremely dynamic to touch and guitar volume. A bit of grit, but not too much. Of course.... adjust to your tastes.
    7 points
  9. That behaviour means there are one or more corrupt presets on your Helix. You’ll need some very high level math to track it down. ;-) When you start the Helix and the presets start rebuilding you will see the display showing you the preset number(s) as they are being rebuilt. The total number of presets in the device is 8x128 = 1024. The preset numbering starts at 0 (Setlist 1, Bank 1, Preset A) and goes to 1023 (Setlist 8, Bank 32, Preset D). Any preset that is still being rebuilt is corrupt. So take note of the preset numbers being rebuilt and do the math to identify the specific presets that are corrupt. Use HX Edit to overwrite the corrupt presets with New Preset (after exporting the corrupt presets to a designated folder if you wish). Repeat this until the Helix starts up without having to rebuild any presets. Then, if you want, you can import the corrupt presets one at a time and recreate them manually from scratch. Overwrite them again before shutting down the Helix device. Another approach might be to make copies of each setlist using HX edit. Then do a factory reset and start importing the setlists one at a time. Restart the Helix twice after importing each setlist. The first restart may rebuild the presets if necessary: this is normal. However, if presets are rebuilt on the second startup that means there are corrupt presets in the setlist. Again, do the math and proceed as described above if you want to recover any of those presets.
    6 points
  10. Stay with me, because this one is a bit of a curve ball...but if you want a Marshall sound, I'd start with one of the Marshall amp models. ;)
    6 points
  11. This is my test. I would like to know which is your favorite. Cheers! https://youtu.be/JD1hufvQxUU
    6 points
  12. classic "bedroom" issue. You tweaked by yourself in cans and now you don't cut thru....99.9999999993% of the time, the player has way too much gain AND not enough mid....A full tone that works by yourself generally does not work in ensemble....
    6 points
  13. I sympathize with your plight, but while the shortcut you're looking for has been begged for a thousand times over, it doesn't exist. The problem is not the headphones, and switching to a different pair will not help you. No pair of headphones will ever sound the same as an FRFR speaker blaring away at stage volume, at a listening position way off-axis, at some significant distance from your ears. These are night and day scenarios. So in a nutshell, you have two problems: Different output devices, coupled with a significant difference in volume. Unless you're insane or already deaf, your stage volume will be considerably louder than whatever you're pumping through your cans. The perceived loudness of different frequencies varies significantly with volume... it's a limitation of human perception, and there's nothing you can do about it...we're all in the same boat. (Google the Fletcher-Munson curve if you're bored, and you can read all about it). You have EQ-ing to do. Period. You can't "gear" your way out of this with a pair of magic bullet headphones. Patches must be dialed in for their specific intended use. This means at or very close to the volume at which they will be used, and at the very least monitored through the same type of output device(s). If you don't want to waste the rest of the band's time at rehearsal, book the room for an hour before everybody else gets there and tweak away... I've done it before, and you should be able to get reasonably close to what you want, with some minor adjustments being inevitable once you're in the mix... that's what the global EQ is for, not the wholesale transformation of multiple patches from one usage scenario to another. However you choose to go about it, dialing everything in at volume is unavoidable. End of story. If you want to minimize aggravation going forward, I suggest keeping different set lists containing the same patches, pre-tweaked for different uses... headphones, studio monitors, live, etc etc...I've done it for years, and it works. Otherwise you'll be in a constant state of tweaking everything back and forth, depending on where you are. (And in my experience it won't be as simple as turning the global EQ on or off. Any one EQ curve is not likely to be sufficient to apply to every patch you have, particularly when it comes to clean vs dirty tones. They often need very different treatments, but I digress). Yes, it's more work up front... but you only have to do it once. After a while, regardless of how a patch was created, you'll get to know what EQ changes will need to be made to adapt it to another scenario, and the process will become much less time consuming... but you'll never eliminate the grunt work altogether... welcome to the wonderful world of modeling.
    6 points
  14. A buddy of mine named Paul has a large collection of guitars. He is also a guitar tech and I was at his place one day while he was doing some work on my guitar. He was talking about his most recent visit to an auction sale where there were several guitars available. He said he wanted to buy more but in the end he settled on one Les Paul. His wife, overhearing the conversation, said “That’s what I need - one less Paul.”
    5 points
  15. If you bought The Big Book of Helix Tips and Tricks, a free update to version 1.1 is now available from your Sweetwater account. Simply download the book again, and you'll have the latest version. The update includes: • 45 more pages than version 1.0 (368 total) • Coverage of all the new effects blocks in Helix update 3.15: Ampeg Opto Comp, Ampeg Liquifier, Heliosphere, ADT, Crisscross, Tesselator, Ratchet, Dynamic Plate, Dynamic Room, Shimmer Reverb • Analysis of the new Ventoux amp tone controls • Explanations of amp Hum, Ripple, and Sag parameters • Expanded Cabinet Techniques chapter, with mic descriptions and analysis • Expanded Audio Interfacing chapter, with more HX Stomp info • Better browsing in PDF reader Navigation view (improved hierarchical expand/collapse) • Additional page with Helix resources I hope you find the info useful!
    5 points
  16. Should I put "Update the forum software to the latest version" on Ideascale? LOL
    5 points
  17. Well since you mentioned sag :) You're right that "normal" for sag is a moving target. I wanted to quantify how sag works, for my own edification, and include it in the 1.1 book update. Here are some representative examples of what sag looks like at maximum. At minimum, there's no sag. So basically, you set sag for whatever you want. Sag itself varies depending on level, how hard you're driving the amp, etc. so I think a value of 5 is as good as any - halfway between no sag, and maximum sag. This also shows that generalizations, like "sag makes things more touch-sensitive" or "sag compresses the sound" aren't all that relevant because all the amps react so differently. FWIW the Ventoux sag (at max) is closest to the Essex A30, with about 200 ms duration before it settles down. Interesting stuff...
    5 points
  18. Hi Just updated my Helix LT and went through all the new stuff in this amazing update. The weekend is saved… So figured that I make an update to my Cheat Sheet, Line6 Helix Model Summary, and hope it can be of any use for you. This version incl the 3.15 update - Amps, cabs, mics and effects are listed in order of appearance on the unit. Have also corrected some minor errors and mistyping found in previous version. On the new added models, I don’t have any info about input impedance, so they are marked TBD for now. Also, I'm not sure on some of the effects. It looks like some effects are mono in and stereo out… I got aware on this when investigating Ben Vesco’s site. Will make an update later when I find more info. Download from my Dropbox (pdf-format) - https://www.dropbox.com/s/gdme46mvj7gt4g2/Line6 Helix-Model Summary%2C 3%2C15-01x.pdf?dl=0 Have fun //Per
    5 points
  19. Try this for a start, it's optimized for the bridge pickup. You'll need to tweak the parameters for different single-coil pickups, pickup angle, and the kind of Les Paul you want to emulate, but this is a decent place to begin. I've also done HB to SC EQ conversion, which in some ways is easier to do. This isn't an exact emulation, but I think it captures the vibe reasonably well. Basically I analyzed a humbucker's response (top image), and applied EQ to give the same kind of curve for a single-coil pickup (bottom image). More stages of EQ give a more accurate emulation (I needed 5 stages to convert a single-coil pickup into an ES-335), but you reach a point of diminishing returns after a while. Hope this helps! (P.S. - If you have my Helix eBook, these are in the Free Files folder.)
    5 points
  20. Well, I guess after 7 years it was finally my turn to have a problem upgrading...sigh... No big deal. The system just got hung up installing the firmware. When it became obvious it wasn't really going anywhere, I just killed the HX Edit program from the task manager, started HX Edit 3.15 again and went through the update of the firmware again and it all worked perfectly. Who knows what caused it, but it's nice to know the update process is robust enough that it doesn't get thrown into a tizzy if the update procedure gets interrupted. Nice solid piece of software.
    5 points
  21. ....Is that ideas are scattered/duplicated/shown in different ways, and i'm not sure most customers know about this, where it is, and/or appreciate this is what Line 6 looks at. If Line 6 do look at Ideascale to get a feel for what customers want, then will they identify the trends by linking common requests together? I've tried to 'put together' some of the Ideascale requests that one way or another are all saying users want more flexibility re the current fixed patch approach, and I think that goes hand in hand with helping users to better understand DSP and have information of DSP allocations with a DSP % marker for each amp/cab/fx, and a total DSP meter. Digital Igloo (Line 6) has stated that: "The short answer: POD Go wasn't designed for the type of guitarist who frequents TGP, which is why I've spent so many cycles here shouting "It's not a Helix" over and over. The long answer: DSP meters are, IMO, a terrible experience, even for Helix. We don't want our users obsessing over which amp or effect uses more or less DSP; we want them choosing what sounds best to their ears. We also want POD Go users to almost never run out of DSP; opening more blocks to maybe squeeze in an extra compressor for the 10% of users who understand dynamic DSP (decidedly not POD Go's target market)—at the risk of the other 90% hitting the wall much sooner—is a non-starter. Ease of use and predictability are key here. We have a list of things we'd still like to add to POD Go—many of which have already been requested—but neither extra blocks nor more flexible DSP allocation are on it." But I think Line 6 may be a bit 'set in their thinking' and/or may not necessarily have a clear picture of the growing demand for the Pod Go training wheels to be taken off. Common themes are: 1. Give users DSP information (the Zoom G6/G11 does this and I think the Mooer GE300 may do this too - even Helix users have asked for this!) 2. Give Pod Go 1 or 2 extra blocks. It doesn't increase DSP, but the option will give greater flexibility 3. Give the option to free-up DSP by removing the amp/cab block for those that will sometimes want to use Pod Go for pure FX Now, whilst releasing even all the EQ/wah/noisegate/volume/fx loop isn't even close to allowing a compressor, the theme of users wanting more flexibility is the issue here: The following Ideascale links refer - So, if you want these things, please vote in each one - current votes as at today's date shown in brackets: https://line6.ideascale.com/a/dtd/POD-GO-Allow-Amp-and-Cab-IR-blocks-to-be-replaced-w-other-fx/990127-23508 (9) https://line6.ideascale.com/a/dtd/Pod-Go-Equalizer-not-be-a-fixed-block/990390-23508# (33) https://line6.ideascale.com/a/dtd/Give-Pod-Go-1-or-2-additional-user-blocks-to-maximise-DSP/1000649-23508 (16) https://line6.ideascale.com/a/dtd/POD-GO-Function-suggestions/1001513-23508 (9) https://line6.ideascale.com/a/dtd/Pod-Go/1011679-23508 (11) https://line6.ideascale.com/a/dtd/Freedom-Pod-Go-Now!/1005827-23508 (19) https://line6.ideascale.com/a/dtd/DSP-information/1015976-23508 (37) https://line6.ideascale.com/a/dtd/Pod-go-effects-blocks/1019288-23508 (12) https://line6.ideascale.com/a/dtd/Free-the-bocks-in-PODGO/1024488-235 (4) And Helix users who want a DSP meter/DSP info (this is requested in loads of other ideas, but included in a big wish list): https://line6.ideascale.com/a/dtd/DSP-Usage-meter/918997-23508 (47) https://line6.ideascale.com/a/dtd/DSP-Meter/867648-23508 (115) The only way we might be able to get Line 6 to reconsider its position is to demonstrate the demand on themes that its customers really want!
    5 points
  22. I have no idea what you guys are talking about. I bought my Helix about 6 years ago and it’s working just fine. It’s running firmware v1.30 I think. Are you suggesting that the firmware can be updated?
    5 points
  23. I'm really glad you've found it useful! My hope was that it would inspire people to come up with their own signature sounds.
    5 points
  24. Alright gents, I'll settle this... everybody drop their pants, and I'll get the tape measure. Lmao... Best thread ever!
    5 points
  25. ...unless you are 8 years old and still enjoy pissing contests, please, use the IGNORE button, and stop this nonsense.
    5 points
  26. Stop the personal nonsense.
    5 points
  27. My first notion would be that you have the wrong version of HX Edit loaded. Were you working on HX Edit or the LT when this happened? Check 'Help' --> ' About HX Edit' in HX Edit and make sure your HX Edit version matches your firmware(3.11 hopefully). Load up the correct version of HX Edit if they are not properly matched. Don't forget to do a backup, global reset, and restore afterwards. If you do have the correct matched versions of the editor and the firmware you could also try a backup, global reset, and restore.
    5 points
  28. Hi Rachmaninoff, Yes, this is possible with Helix LT. When you go into Global Settings > Ins/Outs and set 'Volume Knob Control' to 'Digital', only the Headphone volume will be effected by the Volume Knob while the 1/4" and XLR outs are set to unity. You would then adjust your preset levels by adjusting the 'Ch Volume' parameter of the amp block (as well as the output block).
    5 points
  29. We're at the point where there are diminishing returns in "better" as far as amp modeling goes. The biggest hurdle now is getting most people to understand the different between a guitar cab and FRFR with speaker/mic modeling. There still seems to be a lot of people that think something is wrong when a complete "Studio" tone through a PA doesn't feel like a 4x12 at 110dB.
    5 points
  30. We hope you've enjoyed this episode of Subjective Truth...be sure to tune in tomorrow when we'll finally answer a question that has plagued mankind for centuries: "Lima beans: Hero or Villian?". Same dumb time, same dumb channel. Tastes great! Less filling! ;)
    5 points
  31. Ok. Figured it out, thanks to another post on the forum. It requires you to run Logic in Rosetta, validate the plugin while in Rosetta mode, then you can Un-Rosetta it and run Logic in non-rosetta mode. 1. Close Logic. Install Native 2. Open up Applications folder, right click Logic, click Get Info, check Rosetta. 3. Open Logic, open plugin manager, rescan Native to validate. If it says "validated". Exit Logic. 4. Open Applications folder, right click logic, Get info, uncheck Rosetta. 5. Run Logic and verify plugin is still validated and works. Note the I'm running the latest version of Big Sur as well, so this fix works on 11.4. @vadar1
    5 points
  32. May have just found a solution. I'm running Big Sur 11.2 and had gone through rounds of trying to get this to work with multiple installs of the Line6 drivers and POD HD500X Edit. I thought to check one more time to see if the extension was being blocked and found that it wasn't, but I did find that it wasn't being loaded. In "System Information" look under the Software->Extensions for the "Line6Audio" extension. There is a property there that will tell you if the driver has been loaded or not. It should look like this: If Loaded is set to "No", type this into the Terminal using an admin user: # sudo kextutil -vvvv -bundle-id com.line6.driver.xtaudio That will cause the Security Panel to give you the dialog asking to authorize the extension. I did that, and rebooted. Once the computer was back up, my POD HD500X was being seen. I hope this helps. P.S.: I don't have an M1 mac, so I can't vouch that this method will cause the extension to load or work. YMMV
    5 points
  33. Hi, There are stacks of threads on here discussing the reasons why HX Edit fails to open on Window machines Have you fallen foul of the dreaded SD Card in slot issue? That one seems to be the favourite cause of this problem. Here: Or here: Hope this helps/makes sense
    4 points
  34. I've witnessed pro-life debates that didn't go on this long....
    4 points
  35. I dont do much for mine, Compressor (just to help with attack sound, low attack and release settings, minimal gain boost to achieve unity when on) Tube Preamp to warm up a bit Chorus Reverb I'll add a cleanish OD after the the compressor to help with leads, and a delay before the reverb. This was all pre-3.15 and I havent revisited with the blocks that were just released to see if I can combine and make it simpler yet though.
    4 points
  36. DEFINITELY not!! I've contacted Sweetwater to see what's up, I should have an answer Wednesday. They're kind of new to publishing :), especially this software-based model. Hang in there, they'll make it right.
    4 points
  37. Yup...I have it on good authority (from some very reliable gossip) that the company-wide memo they sent out explaining the decision was titled "Ahh, f*ck it"...;)
    4 points
  38. I have a Helix with 20 cores that runs at 3.7 GHz. It's called "Helix Native" :)
    4 points
  39. On a site that's still sporting a cutting edge late-90's design? ;)
    4 points
  40. An interesting thought occurred to me the other day. I do a lot of recording work using sample libraries. One of the big differentiators in the quality of sample libraries tends to be the ability to apply various manual articulations to the notes. It really doesn't matter what type of instrument be it strings, horns, flute, pedal steel, bluegrass fiddle, harmonica, etc. They all provide various methods for controlling attack, vibrato, swell and so forth usually quite different for different instruments. It's fairly uncommon in modeling forums to hear much discussion about various articulation methods unique to the guitar, which leads me to question whether or not the Helix can sometimes become an impediment to newer guitar players developing these types of skills on the guitar such as palm muting, hybrid picking, neck versus bridge attack, pick technique and so fort. In other words there's so much emphasis and interest in the use of different amps or effects, there's not much left for learning how to enhance the mix of their guitar with the rest of the band or the tracks of a recording through the use of various articulation techniques. What's your take on this?
    4 points
  41. If you’re talking about the amp models, they haven’t really. I believe that some of the most DSP-intensive amp models are still some that were included in the 1.0 firmware. The polyphonic pitch effects that were released with the 3.0 update were DSP intensive, but that’s just because of the nature of what they are.
    4 points
  42. It's done and it's working great! Besides the Arduino Nano and the LCD Display, there's only two resistors, six switches, a Midi Jack and a power jack - that being said, I decided to build this without any additional PCB. The wiring can be found below. I will wrap up the code and put it on github later this week. As a special bonus, I will provide the 3D-printed parts (the Nano holder, so you have access to its USB port and the display pcb standoffs/distance tubes). If you build this, make sure you have some 2.5 mm nuts and bolts available (I bought this one: https://www.amazon.de/gp/product/B075WY5367/ref=ppx_yo_dt_b_search_asin_image?ie=UTF8&psc=1) Sample Video:
    4 points
  43. FYI to all Stomp owners. Here is a great article by Craig Anderton from Sweetwater on how to Get Even More out of HX Stomp. inSync article Just thought I'd pass it on to the community. Hope you find it useful, I have an LT, so, I didn't try the tips and tricks out myself.
    4 points
  44. Okay, let's have a look into the audio engineering world. I guess we can all agree that there's some music sounding pretty great through pretty much any playback devices. Heck, certain productions even sound pretty decent through smartphone speakers. For audio engineers, when it comes to certain kinds of music, it's one of the most crucial tasks to make things sound at least acceptable when being played through a broad range of playback systems, be it fat club PAs, the cheap consumer earbuds coming with your smartphone, the archetypical kitchen radio, the car stereo, ths supermarket sound system and anything inbetween. Now, with some music, there's exceptions. You won't mix classical music with the intention to make it sound great neither through a car stereo nor through smartphone speakers. You also wouldn't mix a techno track which is mainly/ultimately supposed to blast you away when played through a club PA to sound exactly great through any other playback system. In addition, not that this is actually done, but you could possibly even optimize your mix to sound best through smartphone speakers (it'd likely have no bass and plenty of pretty pronounced mids). However, the "average" production usually is mixed so it will sound at least fine on a vast amount of playback systems. And it seems to work. "Highway to Hell" (just to name any random more or less popular guitar based hit) doesn't sound like a totally different piece of music on your smartphone, not even when you do a straight A/B comparison to your big bucks home HiFi system. Oh yes, you will likely enjoy it a lot more when listening through the latter, but still, you can make out pretty much all relevant information through any other playback system. Heck, it's not unlikely you could even tell that the guitars are sounding pretty great (in case you think they're sounding great) when listening through the mentioned smarphone speakers. Now, what all the engineers involved in such productions are doing, would be to crosscheck their mixes through a whole variety of playback systems. This is why you find a pair of cheap monitors on pretty much any studio desk. This is also why you'd leave your studio with your attempts copied to your smartphone, so you could listen to them while driving or biking home in your car stereo or through earbuds under less than desirable listening conditions. Alright, in case you wouldn't know already: Why am I posting this? Because modern amp modeling suddenly brought all that to the guitarists table. In pre-modeling times, all you had to do is to plug your guitar into whatever amps, be happy (hopefully at least) and get away with it. Anything else was left to others. You usually wouldn't play that amp through headphones (unlike it was a cheesy practice amp with HP out). you wouldn't play it through studio monitors (unless you had options to properly mic it up and maybe even isolate it beforehand) and you wouldn't be responsible for the final guitar sound coming through the PA at your band's gig. Now, in fact pretty much all of a sudden (given that truly decent guitar modeling is really only available in an affordable way for less than a decade), all these precious new toys are in our hands. Along with additional duties. Hence, instead of just being guitar slingers, we do as well need to aquire audio engineering skills - at least in case we actually want to make this thing to sound decent through more than just one single playback device. We never had to care about Fletcher-Munson with our good old analog amps as we'd just crank them up until they sounded great. We also didn't have to care about the possible differences of typical fullrange monitors vs. coaxial ones. Or about how an amp would sound through consumer earbuds. All this was left to other, partially highly specialized, skilled people with typically years of experience. The same years of experience we've been spending to aquire some fretboard skills - and being a good audio engineer isn't any less challenging. Having said all that (sorry for the long blurb already): How could we even remotely expect modeler makers to take care of all the mentioned things, so using a modeler would be as much of a plug-and-play experience as using a typical, oldfashioned analog guitar amp? Right, we simply can't. With modelers, while plug-and-play may still sometimes work, it doesn't really do. The presets (or default settings) you'll find on a modeler are made under certain conditions (as a sidenote: compare that to the Marshall stack you were checking in a music store's amp cabin, no presets or defaults...). It is now our task to make them sound good through a variety of playback systems - or at least through those we are using. And as I posted all that blurb above: That in itself is an art form of its own already. It takes learning, it takes experience and it takes time. Not as much learning, experience and time as becoming a full stop audio engineer, but still a considerable amount. Finally, sort of back to topic: So, your modeler patches only sound great through earbuds (or whatever other singular system)? Well, ok, either get away with it or learn how to make them translate well to other playback systems. It's really no different to the first mixes you've done in your home studio. Take them to your car, crank the stereo up and you'd think the world would cease to exist because of all the bass you've dialed in due to your affordable "studio" monitors only going as low as 80Hz whereas your car might have whatever bass reinforcement to impress whomever passing by while standing in a traffic jam. Or slap them onto your smartphone for a cringeworthy ear drum adventure, simply because all the smooth high end that sounded so great on your studio monitors all of a sudden becomes a shrill desaster. As said, either get away with it and stick to whatever headphones forever or aquire some skills. It does take some of those, no way around it. Might come in easy, but it might as well not. There's more than enough people who went back to more traditional setups (for example such as in running their modelers through typical guitar cabs) because all these audio engineering aspects weren't their thing (which I can perfectly understand, even if doesn't seem to be an issue for myself). Decide for yourself, but don't expect modelers to deliver any kind of magic sauce allowing us to ignore all these aspects. It's simply not possible, and it's got exactly nothing to do with modeling quality. Ah, ok, a little spin off, as I was already talking about home studio experiences and sound translation: One of my first forays in the land of digital home production (I have been doing this in the analog days already) was to create a little intro for my band while we were entering the stage. I had just discovered Waves' MaxxBass plugin. And wow, it sounded sooo great at home (through some probably less than average monitors), still pretty decent through the vocal PA in the rehearsal room. Now, the first time we checked this intro out on an actual venue, during soundcheck our FOH dude was slamming the CD in and just pressed start - with the FOH volume still cranked up. It was a rather huge open air festival, so the sound stacks and subwoofers were, well, "decent", to put it mildly. Intro started, sounded ok. I had used an oh-so-creative telephone sound effect in the beginning. So the FOH dude kept running it at volume. Just that the thin-ish first 16 bars were followed by a HUGE kick/bass hit and a rather massive loop. Well... - that was when MaxxBass proved it was worth the name. It's been no less than the entire stage shaking, pretty much as if there was a leave-noone-behind earthquake erasing the world. Fortunately, our FOH guy reacted quickly, but it was still everybody in the entire place standing there completely shocked for a moment, looking at each other in a "wow, we're still alive!" fashion. So much for sounds that translate well (I later on analysed the evil work I've created and it had an *incredible* amount of bass energy around 30Hz, something completely ignored by my monitors and the rehearsal room PA). I'm absolutely confident that this intro would've been just fine on earbuds, too...
    4 points
  45. A completely different device IS creating the sound. Your chosen output device accounts for a tremendous % of your tone...headphones are not studio monitors, and studio monitors are not a PA. And like it or not, EQ is the way out. The only way. Will you ever achieve 100%, indistinguishable continuity between headphones and other output methods? Probably not... because they are very different, they're used in different ways, and that will never change. If you want to though, you can get damn close... but not until you accept what's happening in the first place. I have successfully navigated around this issue for years, not because I'm omniscient or some kind of savant, but because I learned how... stumbling along the way like everybody else. You can disagree all you want... but your predicament is not new, nor is your reaction to it... the steadfast rejection of what's actually going on is the default response of many. You'll find 1000 other threads around here documenting the exact same sequence of events. The same initial question, the same answers provided, and the same "Nope. Can't be." blanket rejection of said answers... it actually gets rather tiresome. We'd all love a miraculous solution that allows for identical tones to emerge, completely independent of what we're monitoring through, and the volume at which we're listening, but that isn't gonna happen, because it's impossible. Your only option is to make it happen with the appropriate adjustments. It's work. Annoying, time consuming, and at times difficult work... but on the bright side, you only have to do it once. You get used to monitoring with one particular output method, and when you switch to another it's a gut punch, because all of a sudden it sounds nothing like what you're used to hearing, and initially it can be a bit confusing as to why. But that doesn't change the fact that there's precisely one answer, which multiple people have already provided... and it is straightforward: Dial in your sounds through the same output, and at or close to the same volume as you intend to use them. Hit 'save'. Often. Or keep searching for a magic bullet that doesn't exist. No matter how convinced you are that you'll be the guy to find it, you won't. This is all about the physics of sound production of various different devices, how and at what proximity they interact with your ears, and the biology of perception. You can't win a fight with any of those things... you can only learn to work around them, and manipulate your gear so that it produces something useful.
    4 points
  46. How come when I listen to a song in my tiny closet with the door closed it sounds different than when I listen to the same song in my barn?
    4 points
  47. I'm a direct to console, FOH, Monitor/IEM and on occasion FRFR type of guy. But yes, I still like my amps... old habits never die. This weekend the opportunity came to take out my Marshall 50 Watt with a 1x12 cab. Initially I planned on just taking my BOSS GT-1 as a small pedal board.... but at the last moment decided to take my Helix.... simply copied my primary presets for my TELE and STRAT (the guitars on this gig) and just removed the AMP/CAB blocks. VOILA! It worked like a charm. I didn't have to change a single effect, not even the overdrives. They worked exactly as intended. What this confirmed with me is that the AMP/CAB blocks I do use (when going direct) are extremely similar to how I normally shape an amp. I would not have been able to do this on my multi-instrument gigs.... but for the straight up guitar gig it worked perfectly, and it's nice to know it does!
    4 points
  48. That seems like a terrible response... Or maybe I just don't understand the logic behind the comment. My take on it: 1) We don't want our users obsessing over which amp or effect uses more or less DSP -- And yet people already do because as we're trying to build patches all of a sudden we can't add the 4th block we wanted and we have to go online to try to figure this sh!t out and work around these limitations. 2) we want them choosing what sounds best to their ears. -- Everyone also wants this. Adding a % value of a DSP would not stop people from choosing what sounds best to their ears, but it would help them build patches that in the end sounds best to their ears. 3) We also want POD Go users to almost never run out of DSP -- Well that's a fail because most people will quickly run out of DSP, then it's a PITA to work around the issue without knowing which effect uses less/more DSP. 4) opening more blocks ... 90% hitting the wall much sooner—is a non-starter -- Not sure what he was responding to, but if you give the DSP % and add a block slot if there is still room for another effect, you don't "hit the wall much sooner"...! Anyway, just imho a very bad take. It really sounds like someone doesn't want to do something and is looking for excuses, rather than having pertinent and logical reasons. - They say they don't want users to run out of DSP, but they don't give users the tools not to run out of DSP. - They say they want users to choose what sounds best to their ears, but they won't allow them to make the patches they want because they're locking out blocks even if DSP is available, for absolutely frivolous reasons. - They say they don't want users to obsess about DSP, but they make DSP management as obtuse as possible, and force users to go online and research that sh!t to death because the product as is is incomprehensible and they don't give users the info they need to use it properly...! Very disappointing answer, as you said, features the majority of users would love to have implemented. Too bad we can't make a poll here, can we on ideascale? % of users who want the features vs don't want the features. And if really some users, for whatever reason, just can't handle seeing a DSP % usage or having an extra block appear if they have room (LOL does such a person even exist?!) then you can make the 2 options disabled by default, and allow users to activate it if they choose in the global settings. And in all honesty, I can't imagine a grandpa/grandma that wouldn't welcome the features. But yeah, that notion is so silly, it's obviously looking for excuses for not doing it.
    4 points
  49. Yes. Three different modelers one for bass, one for acoustic guitar, one for electric guitar lead plus a BeatBuddy all going directly into the mixer, and we do it every single week when we perform. There's no problem with it as long as you understand the basic concepts of how to gain stage your channels on the mixing board which appears to be your main problem. Since you're dealing with an analog mixer you'll need to depress the PFL button on each channel when you want to gain stage it in order for the signal level for that channel to show up on your signal meter. While someone is playing normally, adjust the gain/trim knob on that channel until the level is reasonably below the unity mark at 0db. Turn off the PFL for that channel and do the next one. Once you're done turn off the PFL btton on all the channels so you can monitor the final output of the mixer based on the faders. If you're going to run your own mixing board I'd strongly suggest you watch some YouTube videos on gain staging a mixer to understand what you're doing.
    4 points
  50. Yes it's possible. It's a very useful feature, but for some reason not properly placed in the manual (it's kind of buried in a general section, away from the snapshot chapter). All you have to do is to select the gain blocks (or whatever block you don't want to be affected by snapshots memory), then press the Action button, then set Snapshot Bypass to Off. This will just ignore the bypass status of the block, so it will stay as it is when you change snapshot.
    4 points
This leaderboard is set to Indiana - Indianapolis/GMT-04:00
×
×
  • Create New...