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Showing content with the highest reputation since 01/19/2019 in all areas

  1. 10 points
    Dear folks at Line 6, please update the Firehawk FX in 2019! suggestions: - improve switching, it’s lagging quite a bit sometimes... - add new effects and amps like you do with the Helix products; I’d like to see POG and HOG effects and some new boutique pedals and amps - improvements for the looper, increase of recording time would be nice to make it useful and also being able to eliminate a recording without starting playback for 2 seconds, this makes the looper useless in live situation. - overall bug fixes to add more stability to the system. I love this product and I know it can do so much more if Line 6 puts some effort in updates.... not everyone wants to buy a Helix..... i know im not alone here, just hope someone at Line 6 takes proper action! thank you for your time and I’ll be waiting for feedback!
  2. 9 points
    2.9 Model Updates: -Revv Purple (Ch3) -1x12 Fullerton and Grammatico Cabs -Red Llama Drive -Steve Vai Legendary Drive -Harmonic Antagonizer Fuzz -Rochester Comp (Billy Sheehan Compressor) -Small Stone Phaser -Split Dynamics (Path A/B Routing) Feature Updates: -Output Meters -Gain Reduction Meters -Clip Indicators -IR Attachment by Name -New Switch/Snap/Looper Layout Options -New Model Subcategory Shortcuts -Update from HX Edit -A/B Compare for HX Native Available “soon.”
  3. 7 points
    Can't say I do. Walking through the south Bronx after dark without an armed escort is a "messy and dangerous experience". Updating firmware, even if it results in a toy that's temporarily unusable, ranks somewhere between "the car I want isn't offered in 'burnt sienna' ", and "I'm sorry, but we're out of the cheesecake".
  4. 6 points
  5. 6 points
    A disaster? I think that’s quite a bit hyperbolic... There are some bugs, and 2.82 will be out shortly to clean up some of the remaining things. I mean, personally, I’ve done a bunch of gigs using the 2.80 and 2.8 firmware and really haven’t run into any showstopper bigs. I suppose with a complex system with so many different possible use scenarios, everyone is going to be different.
  6. 6 points
    Okay, cool. I've played as an armchair quarterback too. It's a wonderful thing to do because it makes you feel really proud of yourself and smart, but there's no system of accountability if you're completely full of lollipop so it's a relative safe zone. I did that with my wife's casserole dish the other day. I just forgot not to do it when she's there. I'm hoping the front door is finally unlocked tonight.
  7. 5 points
    It appears that there is an issue with the LA Comp. You likely won’t notice it if you use it before the amp block as it doesn’t do much to the over all volume in that position. However if you put it after the amp block it will affect the volume of the patch and as a result depending on how it’s feeling when you load the preset you may get full volume and you might get less than full volume (as I said it’s random). I started using the compressor at the end of the chain after watching and following along building a patch from a Jason Sadites youtube video. And it 2.71 it worked great. In 2.8 LA comp seems to have an issue loading. If I take it out of the signal path the preset will consistently load at the same volume if I put it back in and keep re-loading the patch after less than 10 re-loads (most often less than 5) the patch will load at a lower or higher volume. I also tested with leaving it in the signal path and just disabling it which has the same effect (as expected). When Line 6 answers my support ticket, I’ll just point them to this thread as I know there are others who have put in a support ticket for this issue.
  8. 5 points
    Here's one back at ya Phil, and Happy Labor Day Ya'll!
  9. 5 points
    I'd like this statement to be required reading for everybody who comes in here whining that Helix (or modeling in general) sucks after playing with it for all of 12 minutes. All in favor?
  10. 5 points
    I'm in the exact same situation... but for me it was an easy decision and solution. As soon as I realized that this was a complete re-write of the CORE I made the conscious decision (right then and there) to be patient and wait until 2.8.1 was released. I do the same thing when my DAW releases a major update. I wait for the dot release while everyone else finds the bugs. I do the same thing when Microsoft does a major update on Windows 10 (every March and November).... I wait until the first round of "fixes" are completed before I do the update. (eg: Windows update 1903 broke a lot of audio systems.... I waiting until the April fix was released before I updated) It's all software... and if I need to rely on it I am not going to be an early adopter of any major release! Coming from an IT background I do have one complaint... an update as major as this one should have been given the 3.0 designation making it obvious that a major change has taken place. Just my perspective :)
  11. 5 points
    You seem like such a reasonable and level headed person. Are you SURE you're on the right forum? ;-)
  12. 5 points
    Great work from line6 here! I like lots of the new features and pedal models. I hope they will implement a db meter for the compressors with the next version. Thank you Line6 for another great update free of charge.
  13. 5 points
    A At this point, where doesn't it come from? The participation trophy generation was raised with the steadfast belief that merely existing is in itself, praise-worthy. The universe owes them for breathing...and unless every need, want, and desire is delivered yesterday, exceeding their wildest expectations, and on somebody else's dime, it's an "injustice"... and someone must pay. They're all professional victims.
  14. 5 points
    I'm heading out of town for a couple of weeks and sent an e-mail to Line 6 asking that they hold off on the 2.8 release until I get back. I hope you guys don't mind.
  15. 5 points
    They do... well, the cabinets do, because that is really where the cuts are happening in real life Remember, the Helix is not "amp in the room" tone, it is "miced up amp" tone... which is very different. You cannot compare a Helix through an FRFR to an Amp sitting in the room. You need to compare it to that same amp, with a mic on it, pumped back through that same FRFR. When you do that, you will find the Helix to be remarkably accurate.
  16. 4 points
    Just want to add... you can leave the LA Studio Comp where it is if you want to tame the peaks, just be sure to set the LA Studio to "Limiter" rather than "Compressor". That "should" tame the peaks, while leaving all the quieter parts (swells, reverbs, etc...) untouched. The LA Studio Comp is an LA2A model.... not a stomp box model. It shines at the end of the chain, but only if you don't try to use it like a guitar compressor.
  17. 4 points
    Nobody has ever brought this subject up before. After this many years, I don't think we should start now.
  18. 4 points
    I wouldn't say I'm being defensive... I don't work fro Line 6. I have nothing to do with the programming side of things. All I'm saying is that some of the ideas being put forth don't really make sense to me because that's not really how the product works. It's very hard to design a system that has some of fail-safe protection at every step along the way simply because people are really good at coming up with unexpected ways to find new problems. My day job is a lighting designer/engineer. The most complex things I do in my normal work are designing lighting control systems. And I'll just say that if you think the Line 6 software isn't user friendly enough, then never try doing anything with a lighting control system. But from the customer side of things, it's just hard to predict what people will do. This isn't meant to blame anyone, but if I have one word of practical advice for people, it would be this. Please don't update Helix during the middle of a thunderstorm... I've been slightly surprised/amused by a few reports from people who lost power when updating their Helix because they were doing during an electrical storm... :-)
  19. 4 points
    Lovely one with the retsina!!! Now absolutely seriously, one time that i was sailing, (i am seaman) i brought ouzo with me. I shared it with the crew (filipinos) and they put fanta orange juice. I was shocked, but they insist on me to try it, and honestly it is really a great combination. Now greeks want to kill me though !!
  20. 4 points
    hi guys first of all I'd like to let you know that I read all the threads I found about this same subject and didn't find the complete answers, so I decided to run some tests myself (like I did on the POD HD years ago) and to create a new thread with my results (I'm on FW 2.60 by the way) ok, I'll start from the end results, so that those who just need to have a quick answer can read it immediatly, then I'll give some deeper explanations the main point of this post is: the moment you create a split/merge routing configuration by dragging down a block you get a level change: after the merge block, with all bypassed fx: with split A/B and Y you get +3dB at the output sum with split crossover you get -3dB at the output sum BUT each path by itself gets attenuated by -3dB so if you use the split A/B to switch between sounds, each of those sounds is -3dB qiueter than the same fx/amp with the same settings in a non-splitted path the good news are that the level changes do not actually occur at the split, so the two paths are both an exact copy of the signal before the split, instead the change occurs at the merge block so the right solution is to act on the merge mixer faders --- why? and why those values? • well to answer, I need to clarify two things that I've read someone get wrong and mixed up in other threads 1) when you sum two identical signals in a circuit either analog or digital you get +6dB boost (voltage sum) 2) when you send a signal to a physical speaker and then send the same identical signal also to another identical speaker you get +3dB (acoustic power sum) this is math and physics, not an opinion now, this second point is one of the reasons why something called "pan law" exists: as we said, when you have a mono signal going to two speakers (so the pan knob on a mixer is at the center position) you get +3dB of sound pressure so mixer designers in some cases decided to pad the center position of the pan knob by -3dB, gradually returning to unity gain at the extremes (in some other cases they may use -2.5, -4.5 or -6dB: the actual effect of the pan law depends on the coherence/incoherence of the signals, on speaker placement, on listening conditions, and also on mixing taste I would say, so the designers have to make an assumption and take a plunge, I don't have time to enter into this now, sorry). • now back to the Helix: you have an empty "new preset" patch you have a signal going through path 1 (I used various sine waves and pink noise) you add a gain block at 0dB (if you want you can even bypass it) => nothing changes you drag the block down creating a double path => you get +3dB at the output sum so, what's going on? - the A/B or Y split duplicates the signal to two paths, so each of them carries the same identical signal which goes to a merge block mixer channel, then the two get summed together... so you should get +6dB, but... ... since the pans in the mixer have a -3dB pan law you only get +3dB - the crossover does not duplicate the signal but splits it in two frequency bands, if you sum those two filtered signals you get the exact same signal you had before, so no +6dB boost here, but there is still the pan law, so you get the -3dB - but, as I wrote before, each path by itself gets attenuated by -3dB because of the pan law, so if you use the split A/B to switch between sounds, each of those sounds is -3dB qiueter than the same fx/amp with the same settings in a non-splitted path • please note that these are not theories or speculations, I've tested and measured thoroughly every configuration and I'm sure the Helix routing works like that • all this behaviours occur identically to mono or stereo signals, remember that all the lines representing signal flow in the Helix display are always "double conductor cables" so either stereo or dual-mono (stereo = they carry two different signals; dual-mono = they carry two identical signals) this point could be deepened a lot but I don't have time for this now --- some other considerations: • if for example you open the pan pots of the merge mixer to the extreme L and R, the pan law attenuation does not apply and the level goes back to unity BUT this is not a solution, because if you run in stereo you only get the left from path 1A and the right from path 1B • I'd like to warn you of potential problems I found with the parameters inside the split blocks I) the split A/B "route to" parameter is a balance control, not a crossfader, so moving it to the left attenuates the signal going into B while not touching the signal going into A and viceversa; so it is appropriate to use that parameter to switch from A to B but not too much to find a mix of A with B for 3 reasons: 1- as I said you only have control over the attenuation of one of the two signals you are mixing 2- at center (even position) you have more level than any other position because the two signals are at full level, so the judgement on which is the best mix is compromised for psychoacoustic reasons 3- worst of all: if the blocks in the paths are amps or distortion boxes or compressors, as long as you are not in A100, "even" or B100 positions, you are sending an attenuated signal to one of them, changing its sound and not only its level II) the split Y "Balance A" and "Balance B" parameters (added in fw 2.10 so not covered in the manual) work like this: the stereo or dual mono signal goes into the split, it is duplicated to path A and B and on each of those you can control the balance between left and right, those balance control also have a pan law but different from the merge mixer block pans ! in this case it's unity at center and +3dB at sides ! (I think the reason for this is to avoid an attenuation to the splitted signals at default settings) so if for example you use 2 amps in the paths do not use these parameters or the two amps will receive a different level than if the balance is at center. --- • to finish I'll add two other Helix Routing measurements I found during my tests: - the pan block is actually a balance control with a pan law equal to that applied in the split Y block: at center it's at unity gain, going to the left attenuates the right up to minus infinite and adds +3dB to the left (and viceversa) - unlike the POD HD500 the fx sends / returns on the Helix are all at unity gain levels (+/-0.3dB), thanks Line 6 ! --- thanks for reading, I hope to have been helpful bye Lorenzo
  21. 3 points
    Before you and others jump on the op, we were told over and over again, that the new way of coding future Helix updates would really speed up future updates. I don't feel that a polite inquiry after five months (if it's really been that long) is out of line - especially given the announcement from line 6 about faster updates coming our way. Yes I know - we are not entitled to any updates ever again, yada yada yada; and many updates (and the news associated with them) is "Top-Secret" like area-51 stuff, but this discussion and question should not be mocked.
  22. 3 points
    Have you considered the HX Effects?
  23. 3 points
  24. 3 points
    So, then, we're all in agreement. Regardless of motive, the never-ending battle against FIZZ is a GOOD THING!
  25. 3 points
    And when just the wireless part craps out, now the brains of my rig has to get hospitalized along with it till it's fixed? No thanks. Want a wireless? Buy one... having absolutely everything in one self-contained unit is never a good idea.
  26. 3 points
    A notch filter is just a parametric with a tight Q.... the Stomp has the perfect tool for you... a parametric EQ. The parametric EQ has 3 bands (essentially 3 notch filters) plus a high and low roll off. Each band has a specific range of frequencies... but you should be able to find 2 that overlap enough to cover your needs. The Q control is critical... you will want to keep this "tight". The higher the value, the tighter the Q. By default the EQ will load with a fairly wide Q for tone shaping, but for a notch filter I would start around the half way point... then adjust as needed, probably increasing the value even more. I find with Banjo (I dabble with 5 string) I also like to utilize the low cut... and raise that to about 400hz. This stops my banjo from shaking violently as the tech turns up the volume :) YMMV depending on the tone you are after. I don't need rich low end, you might! As for the phase invert.... there isn't a direct switch for it, but when using a parallel path the merge block allows you to flip the "b" polarity.I don't know how the LR Baggs implements it... but if it's just a phase reversal on the output (common) you could try this... In your chain, drop one effect to the B path In the split block, change it from a Y to a Split A/B and route ONLY to the B side In the merge block Set your A level to it's lowest setting possible. this is just a precaution to make sure no signal is bypassing the B path Now you can invert your entire signal by changing the "B Polarity" as required.
  27. 3 points
    SUCCESS!! So I was having the same frustrating SPINNING WHEEL issue while using Logic Pro as many others... but I made one change that seems to have fixed the problem! I just turned off my internet connection (WiFi) then tried opening the plugin in Logic, but this time instead of it causing the constant spinning wheel, it prompted me for my account login info (...because of no internet connection). But this time where I had previously been connecting over my home Wi-Fi... I instead connected to my iPhone via PERSONAL HOTSPOT... typed in my password and it loaded right up! And after that first successful attempt I now seem to be able to use my home Wi-Fi without any issues and everything seems to be working as it should! DANG....FINALLY!!!
  28. 3 points
    What worked for me (only a couple of my Presets seemed to be affected) was to use HX Edit to change to another Snapshot. Click on the error message that resulted (this makes the message disappear) and SAVE the Preset. Do this for each Snapshot in turn. Tedious, but much quicker than recreating the Preset from scratch.
  29. 3 points
    Good news! I tried reinstalling v1.05 and then installing v2.0.0 again and all is well :) So, nothing to see here, move along please.
  30. 3 points
    Rd2rk, found a bug in your code. Looking forward to an update IF you found 2.80 and 2.81 not meet your demand THEN revert to 2.71 OR go on vacation :-) /Per
  31. 3 points
    When is the next update coming? -> What’s taking so long? -> The tentative release date has passed, why are they denying us our update? -> Let everybody be beta testers, just put it out already! -> OMG they released it and it is imperfect! -> When is the next update coming? It’s the Circle of Life!
  32. 3 points
    Don't you mean 'not really what I am waiting for'? Not sure how you can extrapolate to 'most people'. I happen to prefer the Grammatico and am certainly not waiting for another high-gain amp/channel.
  33. 3 points
    Im not looking for any attention but I just wanted share my day.I went out to the music store bougjt a stand for my headrush 112 went to grab lunch checked my phone saw the update was out.I went home updated no problems head rush on stand (which I really recommend its ear level and it sounds alot better)and Im off for another 3 days so happy birthday to me yaaaay,thanks Line 6 what a nice surprise.
  34. 3 points
    The feature I would like to see is «converting» of Amp+Cab/Amp/Preamp blocks I use the Helix with two DT50 but also direct out or with headphones for practice at home at night. I dial my tones mostly connected to the DT50, where I use preamp-blocks. When I'm satisfied with a preset, I make a copy for direct out/headphones. There I have to replace the preamp-block with an Amp or an Amp+Cab block. Switching the block resets all settings to default. That means, I have to manually write down the settings, change block and apply them again. I like so see the possibility to either a) change the block type between Amp/Preamp with all settings kept, or b) copy only the amp-settings and apply them to preamp-block and vice versa
  35. 3 points
    I call BS. Otherwise you would explain why in no less than 6 paragraphs that no one would read. :-)
  36. 3 points
    Oh, I bet they do. With a projected release date of Spring 2027.
  37. 3 points
    Somewhere, there is a thread identical to this one only arguing over whether the Carpenters would have sounded the same had they used a Hammond instead of a Wurlitzer.
  38. 3 points
    Well don’t let “Spikey” know that - he may think it’s aimed at him, especially since that stuff in some previous release notes: ”For those who did complain (AND WE KNOW WHO YOU ARE), the new tuner will be unlocked once you perform ONE of the following:...” And there was also something from a while back about your car radio playing death metal at 5am, or something equally weird.
  39. 3 points
    So, here we all are ..... drinking heavily until 2.8 comes out.
  40. 3 points
    That's not his avatar; that's datacommando.
  41. 3 points
    Helix Firmware 2.80 (Available SPRING 2019)- IT'S ALL FAKE NEWS! ;-) ;-) ;-) 
  42. 3 points
    I'm convinced I was smuggled out of Texas as an infant and dumped in NY... it is wretched here, lol. The older I get, the more I realize I'm behind enemy lines...;)
  43. 3 points
    I wanna know how the '.7' gig goes, lol.... Is that where you are playing in the middle of the 3rd set when your phone alerts you to an email about a thread update and low and behold its the release of 2.8 and you immediately shed your guitar, grab your Helix and run home to try and quickly update before the gig is over so you can return with the MORE brootalz tonez you thought you were getting when you bought it over a year ago? P.S. no tones were actually constructed, edited/tweaked during this message. My Helix was not turned on, or hurt during the production of this message. Please digest the content of this post at your own discretion.
  44. 3 points
    To bring some life back to your guitar, try putting a Parametric EQ in front of your chain with these settings: Low Level: -5dB Low Freq: 495Hz Low Q: 1 Mid Level: +12dB Mid Q: 0.5 Mid Freq: 5kHz High Level: +12dB High Q: 0.5 High Freq: 10k Adjust the Low/Mid/High gains to taste.
  45. 3 points
    Sadly after the initial 3 updates in 2015 there has only been 1 firmware updates for the Firehawk FX!!! and they are usually many months apart. Here is the update history log info: v1.01.00 5/6/15 v1.10.00 5/26/15 - 20 days v1.20.00 9/29/15 - 4 months v1.30.00 5/1/17 - 1 year 8 months!! as a fellow FHFX owner, I really wish they didnt do this to those of us who paid our hard earned $ and cant afford $1k on a Helix At the time I bought it (very late in the product life) I had no clue they wouldnt add any more updates. Sad but true..... Come on Line 6 at least 1 more update for SOMETHING!???
  46. 3 points
    Your last post in that deleted thread was "SMH this community is the worst ". And yet, you're still here! Look, this whole exercise is pointless. You've done the best you could to describe your problem. You've received the best advice possible from the most helpful members of this community. The hostility/frustration level (and I include myself here) is rising, is totally unnecessary and not at all constructive. At this point, it's really simple - and I've said it before - Time to return the Helix and get what you wanted in the first place - an AXE! Don't blame the Helix. Don't blame the community. Say "THANK YOU" to those who've tried to help, and LET IT GO!
  47. 3 points
    Hey everyone. So I just finished up recording a series of singles with my band and I exclusively used the Line 6 Helix on all the guitar parts. It was a fun process and my producer was very pleased with the results. He had actually never heard of it when I brought it to him. He suggested mic'ing my cab or using one of his amp sims that he uses and we tried some things and alot of them sounded great. I told him I would bring my helix and show him the next day. He was very impressed with the interface, the sound quality and the seemingly unlimited possibilities. So here is our first single entitled "Very Well". I used the tweed blues brt for cleans and the cali recto for high gain. Also used ownhammers 412 mesa v30 impulse response. I think some of the mastering squashed the distortion quite a bit but i'm still pleasantly surprised at how it all came out. If you have any questions about my rig feel free to ask! Thanks :)
  48. 3 points
    The thing is that expectations play a huge part in these sorts of things. If you play something and expect it to sound a certain way, that is often what you'll hear. It's called confirmation bias. Really, the only proper way to do this sort of comparison is a true blind test, and that's darn near impossible to do on your own. I've heard clips comparing real amp to the Line 6 modeled ones, and they get very, very close. When Line 6 had the "Helix Challenge" up on their site, 50% of the people guessed which was the real amp and which wasn't... That's basically what you're looking for in a modeling scenario - the guess rate is the same as chance.
  49. 2 points
    I've been in that boat ever since I started to get into recording and going to school for audio engineering. Guitar cabs are really, for the most part, poorly designed speaker systems. The are very directional, very susceptible to room variation, and quite limited in frequency reproduction. I very much prefer to hear a "complete" tone through FOH, my backline, and my IEM. Guitar cabs were my biggest beef until I started going FRFR and direct. Get it sounding good in the rehearsal space...sounds like crap in a small venue. Get it sounding good in a small venue...sounds like crap in a bigger room. And it was rarely a small adjustment to fix it whereas now I pretty much just bump the bass knob on my monitor from 0 to -2 and I'm good to go on stage, while still sending a pristine, unadjusted tone to my IEM and the FOH.
  50. 2 points
    You can't rename the original names, but you can (or should be able to) rename the blocks if you want. When you insert a Scream 808 it will show as such but you can rename the block to read "Tube Screamer". The problem is, you have to do that every time, in every patch, with every effect, and that can get tedious. I have never tried to rename a block on the Helix but I used to rename the blocks on my HX Effects, then decided it was just easier to learn the new lingo :) That's a whole different topic... I'd love to have this feature as well.
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