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Showing content with the highest reputation since 05/26/2018 in all areas

  1. 7 points
    Embedded programmer and software test engineer here. Since you seem to prefer voicing your opinion in a very direct way, I'll do so too: This crap is becoming tiring. You seem to have zero insight into software development, yet you come here and know exactly what the developers at Line 6 are doing wrong because... Yes, why actually? As an attempt of explanation: Resources are limited. The main resource in this case is the time a team of developers has in total. This time can be spent on concepts, architecture design, implementation design, implementation itself, testing, debugging, maintaining and many other tasks. Developing for a real time embedded system like the Helix isn't like clicking on a few icons in an Android App Maker to build the 16931st whoopee cushion soundboard for the Play Store. These projects eat a ton of time in every stage from concept over implementation to maintenance. Almost everything has to be optimized because any code that is inefficient would result in an audible delay, every bit of wrong code would distort the sound in various ways. This is one aspect. The other is what amsdenj mentioned: Technical debt. It's a term for tasks and unsolved problems that have accumulated over the development of a component or a product, basically a To-Do-List. This list has to be tackled someday if you want to keep your product in the market. If you look at the changelog for the 2.7 update, it's a lot of those minor annoyances that may be major ones in the wrong setting, like polarity/phase issues and amps that become quiet. The third aspect is that we are not talking about a single device here. Helix is a platform with by now a whole set of different hardware devices and a software plug-in. "Platform" doesn't equal "I write a line of code and it works everywhere". It once again may have to be optimized and it has to be tested. And no, testing isn't plugging in a guitar, checking if there's sound and if so, ship it. If that was the case, we wouldn't have to fix bugs at all. Look around in the forum. For over one year there have been complaints about the tuner, including lengthy posts, heated discussions, YouTube side-by-side comparisons with other tuners, people testing it with different instruments and what not. I play bass and have had very few issues with the tuner, but it seems to be a problem for many users. What did Line 6 do here? They addressed a complaint. Isn't that what you wanted? No, you're one of those people that not only buy a product and then somehow feel entitled to get something they want, you also have the impudence of putting yourself above a department full of most likely very experienced software engineers, programmers and projects leads saying "They're all idiots because they can't do more.". I recommend you get yourself a SHARC evaluation board, a matching C++ IDE and start writing your own DSP accelerated real time sound processing pipeline. Then you can use all your insight to add amp models, fix bugs, walk and chew bubble gum every day.
  2. 7 points
    Hi Made an update of my Cheat Sheet, Line6 Helix Model Summary, if anyone are intereted. All up to date with 2.50 update and all amps, cabs, mics and effects are in order of appearance on the unite. Some corrections are also made, if someone down loaded the previus version. Unfortunately, there will be one more page as there are just too many amps and effects in the unit :-) Or, there is now room for more... I still want to keep the sheet readable, so have kept the font size the same. Download from my dropbox - https://www.dropbox.com/s/e2jsnnqwscr6iml/Line6 Helix-Model Summary%2C 2%2C50-P1.0-01.pdf?dl=0 Have fun //Per
  3. 6 points
  4. 6 points
    You do understand that demanding "proof" of something that (by definition) cannot be quantified, or otherwise measured in any definitive/ objective way, is like to trying to pick up a turd by the clean end, right? Never mind... don't answer that, we've all wasted enough time already. You'll "win" the argument by default, because what you're demanding cannot be done. It's a half-clever (yet thoroughly obnoxious) means of seeking external validation for an already fully-formed opinion. And while it makes for some festive arguments, in the end it achieves nothing and helps no one. Your Congressman would be proud.... But what the hell, I'll bite....I posted the same clips a while back in a previous iteration of this retarded discussion. So as long as we're all intent on taking yet another ride on the stupidmobile, here ya go: Listen to This Really Needs A Title by cruisinon2 #np on #SoundCloud https://soundcloud.com/user-100603322/this-really-needs-a-title Listen to Here Goes Nuthin' by cruisinon2 #np on #SoundCloud https://soundcloud.com/user-100603322/here-goes-nuthin-final-edit Love it, hate it... either way, it's no skin off my a$$.
  5. 6 points
    The thing is that comparing the stock presets or even default amp/cab settings of each device doesn't mean much. They might be models of the same amp model number, but they're not models of the same amp. They're not using the same IRs, the same mics, etc. In order to do a true A/B test, you need to start by comparing like for like... So, really, you'd at least want to use the same IR with the comparable amp models. In any case, if the Axe FX III inspires you more, get that. I have no desire to convince anyone what they should and shouldn't like. Guitar tone isn't a competition. These are all tools. Use what inspires you most.
  6. 6 points
    I think Mooer won't get another cent from me (I had some of their small pedals at one point)... Doing what they did with EHX and getting caught only means they're doing it for other things as well. There's too many honest companies making good products to justify supporting a company that's doing that sort of crap.
  7. 6 points
    Allow me to spare you the suspense...Helix will not have an additional 200 amps a year from now, so you might as well break out the credit card and beat the Christmas rush.
  8. 6 points
    Well there's no way to quantify it, so it's impossible to prove one way or the other...but as far as I'm concerned, most subtle differences in tone that one perceives from one day to the next (no matter what kind of gear you're using) are exactly that...perception. Hearing is imperfect, and how we interpret sound can be influenced by any one of a thousand things, from the mood you're in, to how much sleep you got last night. I used analog gear for a million years...the way it behaves on Wednesday is pretty much the same as it behaved on Tuesday. If it sounds different, it's in your head. Regardless, you couldn't pay me to use such a "feature" if they added it to Helix. I don't want "wandering tone". Half the point of having gear like this is consistency. I want my patches to sound the same when I call them up....that's why I hit "save".
  9. 5 points
    Line 6 Helix 2.70 Mega-Setlists · 4 Setlists: IRs LG + IRs HG & Cabs LG + Cabs HG. · 232 Presets, each with 8 Snapshots. · 57 solo amp & 175 dual amp presets. · Cab Sets feature L6 Cabs. IR Sets feature IR blocks, but not IR files are provided. BYOIR. · LG = Low Gain (Supro->Plexi Jump). HG = High Gain (2204->L6 amps). · Each amp features Snapshots for Low, Mid, & High Gain settings. · 2 formats for dual amp presets: “Channels” & “Parallel Amps”. · LED rings color coordinated for Snapshots view. · All FX Blocks are custom named. · All Snapshots output leveled to -28.5 LFKS Integrated, ITU-R BS.1770-4, over 15sec of looped open G strumming. · EXP Pedal 2 has additional Mod, Delay, & Reverb settings. · Amp and FX settings largely derived from the SOAS Project (25%) and personal preferences (75%). · To Import, Drag + Drop directly into Helix. Or hit the top left yellow “Import” button & search for “all files” instead of just .hls. I am not sure why the Setlists are saved as .hlx instead of .hls files. · For more information, including lists of all of the amp and effects settings, along with the OwnHammer IR’s I used, please visit: https://l6helix.wixsite.com/helixsoas · To Download the Setlists, please visit: https://line6.com/customtone/profile/Noobian_Prince https://imgur.com/a/Gic53qq
  10. 5 points
    For anyone who wants his variax to be more accurate: https://www.vguitarforums.com/smf/index.php?topic=24065.0
  11. 5 points
    Because, why not? Here's mine: The underside: It's a Pedaltrain Novo 24. I have all the pedals on the top going through the Loop Expander and that's in one of the HX Effect's FX Loops. Those pedals are in turn controlled by MIDI (the Meris pedals get MIDI through the little Meris MIDI I/O on the right). Everything is powered by two Strymon Ojais.
  12. 5 points
    Logic is logic my friend. You're just wanting to set me up for a game where I post something and no matter how hard I work on it you say, "I hate that." I didn't fall for those games in 3rd grade when a friend of mine preferred Caddyshack to Ghostbusters, and I'm not dumb enough to fall for it now. Find someone else to hurt on the teeter totter.
  13. 5 points
    Why is a guy demo-ing a guitar speaker without having someone actually play a guitar through it? Why SAY this is different than the TS312 without actually running music through both? This has to be one of the stupidest AND most useless YouTube reviews EVER!
  14. 5 points
    Hey - First time poster. I recently got a Helix (love it so far) and while creating patches, I thought it would be nice to have a one page resource for what the blocks are modeling. I tried creating one that kept the theme of the Helix overview cheat sheet available from Line 6. Link: Google Drive PDF I use it all the time now as I'm getting to learn all the Line 6 names and what they are modeling. Thought maybe someone else might benefit from something like this. Cheers.
  15. 5 points
    I've been piping pink noise through the Helix Native mic+cab sims to learn more about them. I don't care at all about what the real units sound like, just about how they shape the sound. This is what I've seen so far: For pretty much any mic, increasing the Distance parameter causes some boosts and cuts in the mids, the frequencies of which which seem to depend on the cab. For instance, on the 4x12 WhoWatt 100, increasing distance significantly cuts 1.2KHz, whatever mic you use. In fact almost all cabs see cuts around the 1-1.5KHz range, with the 4-speaker cabs showing the biggest effects. On top of that, for pretty much any mic+cab, increasing the Distance parameter causes a low roll-off typically of between 6 and 12dB, and a small high-end cut, and a more gentle output decrease across the board. A couple of cabs also see small boosts in the mids, like the 1x12 Celest 12H. I don't think the proximity effect is being modelled because the low end reduction doesn't seem significantly different across the mics. Increasing the Early Reflections parameter causes a broad but small boost in the 300-500Hz range. I didn't measure to see if there was any actual reverberation/delay effect included. By averaging the response across all the mics for a given cab you can get a good feel for its 'signature'. For example, the 4x12 Greenback has a slight boost in the low mids, then a pretty smooth roll-off as the frequency goes up, except for a big boost between 2K and 6K. Good for taming the treble of high-gain, while letting it cut through at the same time. By comparison the 1x12 US Deluxe is almost flat right up to that 2K mark, falls off at 5K, but with a characteristic spike around 12.6K (probably now inaudible to anyone who played through the speaker when it first came out!) And the 2x12 Jazz Rivet is also pretty flat, with a smooth but steep rolloff after 5K, punctuated by a sharp notch at 6.6K. ...and so on. If, like me, you know nothing about the cabs and don't have a specific sound you're going for, it's definitely worth trying some different ones to make sure their particular brand of cuts and boosts fit your material. Arguably the flattest response, with otherwise 'default' settings, is the 2x12 Double C12N, with Distance at 1", and using the 67 Condenser mic. If you want a fairly neutral starting point, I recommend this. For the most low-end, the 4038 Ribbon mic is the one to consider, followed by the other ribbons. For the most high-end, the 421 Dynamic, closely followed by the 112 Dynamic, seem to be the best choices of mic, which seems to tally with the real-life frequency response charts. The 12 Dynamic mic has a significant boost around 700Hz, and which strangely isn't present in the frequency response diagram for the real life equivalent. Might be good for helping leads cut through the mix though.
  16. 5 points
    The pattern is, about 3 - 6 months after any update there is a "when's the next update" rumble on the forums. It kind of comes and goes like the tide for awhile UNTIL the "I heard there's one coming shortly" rumors. Then comes the what they should and shouldn't include along with the "this is what I heard" and "it should be coming come out......" speculation. That whole noise floor keeps rising and rising along with the "what's taking so long" posts until people start to think they can't take all of this waiting anymore. Now a couple of "I'm a beta tester and we're still testing" posts.........THEN!!!!!!..............the update finally comes. At this point the "it's been two hours where's the next update" jokes (often from yours truly) and the "great work Line 6" posts start along with the "this sucks", "why didn't they...", "well you suck if you think this sucks", "well you suck if you don't think this sucks", "are there any new factory patches?" etc. etc. posts. Finally it settles down until about 3-6 months after that. Go back to start. Did I miss anything? Oh....you mean Line 6? No there's no pattern really other than a semi official "we're close" post about a week or two before it finally comes out.
  17. 5 points
    Pete Thorn can play, and I'm sure he's an all around swell guy. However, I think... strike that...I know that reality is VERY unlikely to live up to your expectations. Trying to use patches created by somebody else, no matter who (or how wonderful) they are, is mostly an exercise in futility. You will always always end up having to tweak them to the rest of your rig, guitar(s), needs, playing style, etc. etc. Even if they were free (which they wouldn't be if L6 is cutting the guy a check), you're still chasing your tail. And yes, to confirm my suspicions I've tried (repeatedly) a bunch of downloaded patches...some free, some not... including some of the most talked about ones around here. The free ones were a waste of time, and the paid ones were a waste of money.... so I don't bother anymore. Mine work because I made them with my guitars, monitors, headphones, PA, etc... and all at the volumes at which I intend to use them. When all of those other factors are a complete mystery, and Helix the only common denominator, you're pi$$ing in the wind.
  18. 5 points
  19. 5 points
    At the risk of sounding like a broken record, Helix was designed to act as the centerpiece of one's rig; it was not designed to replace every component in someone's rig. If a formant filter is mission crucial, we've provided multiple ways to incorporate it into Helix's signal flow.
  20. 5 points
    The main difference between modelers in this range is the proficiency of the person using it to able to precisely dial in the tones he wants. Technically both will do whatever you want. You just have to know what you're dong and know how you want to set your rig up to get the sound you want. Neither of them is simply plug in and play. Both require you to be knowledgeable about how to build a signal chain. If you know what you're doing both will sound great. If you don't know what you're doing both will sound bad.
  21. 4 points
    So now there's HIRB, a Helix IR Browser, lets you see which presets use the IRs contained in a collection of Helix setlist files. Purely browser based, nothing to download or install Doesn't modify your files, just shows information about them Doesn't upload them, processing happens right in the browser Pretty much zero risk, can't corrupt your files or anything Hopefully it's pretty self-explanatory, ask here (or on TGP) if not, I'll be around when I can be. One caveat: This does look at snapshots, switches, even continuous controllers. However, it has no way of knowing whether a patch is intended to use 4 snapshots or 8, so if snapshots are in play, it'll report the IRs for all of them, even ones you never use. I think it's not really an issue, but I (or someone?) need to do more research on how snapshots you've never accessed report themselves. Copious free time... Another thing. Frank from Line 6 was going to post about this on the FB Helix group, but I'm not on FaceBook and don't want to be. So, could you guys who are be my eyes and ears there, let me know if folks there have any great ideas I should know about, hit problems, find it useful/useless, etc.. Let me know what you think.
  22. 4 points
    Cool story bro. Sounds like you know what you should buy for yourself. Just curious, but do you like Hawaiian pizza?
  23. 4 points
    First, I want to emphasize something about the whole global EQ thing. If you read the manual you'll note that Line 6 warns about using global EQ only for making corrections in the acoustics of the room and there's a very important reason for that. But I want to put a couple of things in perspective for you first. A key value of the Helix or any modeler is its ability to completely transform your sound from song to song, different genres, or in the middle of a song. This is something new to people who have used traditional amps. Typically you have an amp and it stays within a certain range of tone all the time. Pedals can help transform the tone, but it will always have the base tone of the amp at it's core. That's not the case with the Helix. You can move from a heavy rock sound with a Marshall amp, to a very clean bluesy sound with a Roland JC120, to a more country or americana sound using a Fender twin, to a crunchy Pete Townshend sound with a Hi-Watt. However using high cuts will vary depending on the amp model used, the cabinet used, and the mic or microphone mix used. So using global EQ gets in the way of doing that correctly because it applies across whatever amp, cab, or mic is being used. That's why it's important to keep such things within the patch itself so it can change, if necessary, right along with your base tone. Another key difference in moving from a traditional amp to a modeler is that the paradigm being used on a modeler is one more closely associated with that of a recording studio than a live performance. You've probably read stories about how famous groups with famous records record one track with a certain setup of amps and cabinets and a completely different setup for the next song. That's more in line with how a Helix signal chain works than traditional live setups where you simply plug in and play the same rig all night. You don't change your amp or your cabinet or your mic'ing approach from one song to the next, but in the Helix you can which is extraordinarily powerful in achieving a wide range of tones even within a genre or style. That doesn't mean you HAVE to make those changes, but you can if you need to. However, just like in a studio the more you understand how all of these things affect your tone, the more control you have over your tone. Things like Fletcher Munson are always in play whether you play a traditional amp or a modeler. They're more prominent on a modeler because you're listening to your sound through a particular mic placed in a particular location on your cabinet. You'll hear the same things on a traditional amp and cabinet if you place your ear in the same place you would a mic on your speaker cabinet. And if you're playing live through a PA, THAT is what your audience is hearing, which is NOT what you hear standing next to your amp on stage. That's why the first step in getting your tone right is being sensitive to what cabinet or mix of cabinets you're using, what mic or mix of mics you're using, and the placement and mix of those mics. Using a Shure SM-57 with a distance of 1" is a much harsher sound than using a Royer R121 ribbon mic at a 6" distance. Combining those two mics can give you a middle ground between harsh and dark. That's where you start when getting your tone where you want it. Any additional corrections using EQ can be done after that using a parametric or graphic eq to fine tune the sound. With all of that in mind I'd refer you to Jason Sadites exceptional series of videos on YouTube to see how he applies all of these elements to dial in a variety of tones.
  24. 4 points
    So, if you think there's a product that has all the amp models and effects you want, why not just use that product instead of expect another manufacturer to essentially copy what they're doing? I can tell one thing for certain, and that's that Line 6 is really not interested in trying to recreate the feature set of the Axe FX in the Helix. They have their own vision for what the Helix is going to become. Certainly that means more amps and effects in the future, but it doesn't mean trying to please everyone...
  25. 4 points
    This is why I'm so supportive of people like Jason Sadites in that a person is FAR more likely to benefit from his video tutorials on YouTube for getting a great sounding preset to meet their needs than they are to expect any preset they purchase or download to be instantly useable for their configuration.
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