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Showing content with the highest reputation since 05/22/2018 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
    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.
  4. 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.
  5. 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".
  6. 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
  7. 5 points
    For anyone who wants his variax to be more accurate: https://www.vguitarforums.com/smf/index.php?topic=24065.0
  8. 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.
  9. 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!
  10. 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.
  11. 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.
  12. 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.
  13. 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.
  14. 5 points
  15. 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.
  16. 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.
  17. 4 points
    So even after having the Helix after 3.5 years, I'm still finding new tricks. I have a Chase Bliss Tonal Recall RKM, and one of the things I really like about that pedal is how thick, dark and chewy the repeats can get. I hadn't really spent a lot of time messing with trying to recreate it in the Helix. I could get somewhat close with the Adriatic Delay, but last night I decided to mess around with the Mod/Cho Echo model, which is kind of a boring name for a very interesting effect, as it turns out. It has high and low cut parameters, and turning the high cut down very low, like around 1.2kHz is getting me what I was missing - surprisingly so. I actually kind of prefer some of the attributes of this to the Tonal Recall, I think. The Tonal Recall does a lot of other weird stuff, but here I'm comparing kind of a basic dark analog echo sound. I used a looper block as the first thing in my chain for this clip so the same dry track is being fed to both the Tonal Recall and to the Mod/Cho Echo. Not too shabby when you consider the Tonal Recall RKM is a $500 pedal... I won't say which is which for now, but I'll reveal it later. In any case, I personally think I'll be selling another pedal very soon.
  18. 4 points
    There hasn’t been much new for us Variax users for quite some time. That’ a pity because there’s nothing on the marker that can do what a Variax does for a gigging musician. Variax is so close to being fantastic, its too bad it hasn’t gotten incremental improvements to push the technology over the top they way Helix did with the HD500 series of amp modelers. So here’a a fiew ideas on what a next generation Variax might look like. Hopefully this will generate some discussion and customer demand that will help Line6 justify some new development in the Variax line. Miniaturization: Use HX Stomp engineering to significantly reduce the hardware footprint of the Variax while increasing its DSP capacity. Leverage this new hardware component to make it very easy to install Variax hardware in almost any existing guitar. This might require some routing and a new back plate, but I think we all prefer the flexibility of Variax in our own favorite instruments. Stick to the four knob layout of the Variax Standard to fit on guitars that typically have four knobs (volume, tone, model selector, tuning selector) On guitars with two knobs, use a mode switch on the knobs to change between volume/model selector and tone/tuning selector - this will take some engineering on the control, but would simplify functional layout on the guitar. Ensure VDI and 1/4” outputs sound the same and VDI faithfully reproduces the magnetic pickups into Helix Support option for VDI guitar impedance modeling and simulate treble rolloff for different lengths of cable and different cable capacitance. Support more customization slots, or better yet, just treat all blocks in the guitar the same way and use presets to load whatever block the user needs into whatever switch position they want. Allow Impulse Responses for guitar models. These can include IRs for body, pickup, acoustic bodies, mandolin, acoustic bass, etc. There’s a growing market for instrument IRs Variax should be able to leverage this. Include a model that provides access to the raw piezo pickups so that Variax can leverage IR blocks in the Helix line as well as other models for additional flexibility Support Line6 marketplace for purchasing guitar models and guitar IRs Expand the models available from Line6 (and maybe others from the marketplace) and let users choose which ones to load into their guitars. This allows the existing model to be retained for backward compatibility while opening up the possibility for new models. Its ok to have more models than what can fit into the guitar at one time. Allow additional guitar models to be loaded as part of Helix presets (just like different blocks in Helix). This will require much faster model load time that is currently available from Workbench. And finally, and most important, improve the body, pickup and acoustic models to make them “HX” quality. Do this by expanding the models available in while retaining the current 1.9 and 2.0 models if anyone wants to use these. There’s no reason to not have the choice to retain what was while opening up new opportunities. These models should just be Variax “blocks” that can be loaded as presets from Helix or Workbench HX.
  19. 4 points
    I understand the design motivation for limiting HX Stomp to 6 blocks: Keeping the UI elegant, simple and easy to use Focus on adding a stomp box in an existing pedalboard to compliment an existing setup with HX capabilities Consistency between the number of blocks and DSP capacity Anticipating future blocks that may utilize significantly more DSP resources Limited number of foot switches to control blocks Essentially this means HX Stomp is intended to provide Helix capabilities, with minimum footprint, to existing pedalboard and amp setups, not to be all things Helix in a tiny box. I get that, and these are all good design decisions, although these design decisions also sound appropriate for HX Effects. But let's look at how HX Stomp might be used in a gigging situation by itself to see if 6 blocks is enough. This might be for rehearsal, as a backup to Helix, as a convenient fly rig, or just because something so small is so useful. Consider a typical guitar signal chain that uses front and back of the amp effects (| means or): Input > Wah > Compressor > Drive > Overdrive > UniVibe | Phasor | Flanger | etc. > Amp > Cab | IR > Chorus > Delay > Reverb > Output This it my typical gigging Helix patch. I use 10 Stomp mode and pretty much stick with the same patch all night, using snapshots for open tunings, acoustic, and Leslie. This is 10 blocks, and clearly requires more foot switches than HX Stomp can provide. If you need patches like this or more complicated, you need Helix or Helix LT. Trimming this down to 8 blocks, we get something like: Input > Wah > Compressor > Overdrive > UniVibe | Phasor | Flanger | etc. > Amp+Cab > Chorus > Delay > Reverb > Output If you leave the Drive, Amp+Cab, Delay and Reverb on all the time, and you have a Line6 Mission pedal (if you don't, get one, it makes HX Stomp is a lot more useful), then you need foot switches to control Wah, Overdrive, UniVib, and Chorus. If you configure FS3 in global settings for Stomp, then you have the four foot switches you need. This seems like an ideal setup for HX Stomp by itself and is something I would be happy to gig with. To trim this down to 6 blocks, we get something like: Input > Wah > Drive > Amp+Cab > Chorus > Delay > Reverb > Output This is still pretty good, but looses the front of the amp modulation effect, something I use quite a bit. The work around is to create a patch template that covers the common blocks, then create a different preset for each front of the amp effect you need. That can work since you generally only need one of these at a time. But it means creating and maintaining a lot of patches that differ in only one block, and the potential need to change presets in the middle of a song to get different front of the amp effects. This is probably not practical. So I vote for 8 blocks, full Helix Path 1 capability, and let us users deal with balancing blocks and DSP capacity, just like we do with Helix. Two more blocks is actually a lot of additional flexibility without much additional complexity. This said, I'm pretty happy with HX Stomp just as it is and would highly recommend one as an entry point into the Helix ecosystem, as a Helix backup, or as a stomp box to add Helix blocks to an existing rig.
  20. 4 points
    First off, you don't need a Fender Bassman model since there are already two Bassman models there. The Tweed Blues Norm and Tweed Blues Bright are Bassman models. Secondly, it doesn't do any good to post such things here as the only place that is refered to by Line 6 would be on their Ideascale site. Here's a list of what models are currently in the Helix and the amps they are based on. https://helixhelp.com/
  21. 4 points
    IMO: Option 4, which you seemed to have missed :) The HX Stomp which includes all Helix amp models as well as effects and also works as an audio interface. It's about the same cost as the HX Effects but seems to be a better fit for what you are after. No amp models, and it won't work as an audio interface like the X3, HD500 or HELIX will. It should be noted that you also need a DAW.... although there may be a free platform or two that may work.
  22. 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...
  23. 4 points
    how can an update (and it's free for chrissakes) be disappointing ?
  24. 4 points
    Lol...well that is quite the list. Given it's extensiveness, if I were you I'd prepare for what will very likely be an epic, personality-shattering disappointment. ;)
  25. 4 points
    So I'm stuck here waiting with a lot of time on my hands. I was making this list for myself and realized others may be interested. I looked through some posts and made a list of the FRFR's that people say they are using. I also included a list of 12" speakers people are using to replace their guitar amp/cab speakers that are supposed to have a more flat frequency response. A few people have built their own FRFR's and I didn't include those nor whatever actual guitar amps people are using. As you can see, products websites were included as well. I was surprised by how few showed up in my research which is by no means conclusive and only reflects what I found on this forum. Anyway, here they are. FRFR Mission Gemini 2 $1,499.00 https://missionengineering.com/shop-2/products/amplifier/gemini-2/?v=7516fd43adaa QSC K8-2 $649.99 https://www.qsc.com/live-sound/products/loudspeakers/powered-loudspeakers/qsc-k2-seriestm-new/k82/ Headrush 112 $299.00 http://www.headrushfx.com/products/frfr-112 Alto TS-212 $299.00, TS-310 $249.00, TS-312 $299.00 https://www.altoproaudio.com/products/ts210; https://www.altoproaudio.com/products/ts212; https://www.altoproaudio.com/products/ts310; https://www.altoproaudio.com/products/ts312 I wasn't going to include "reviews" but there are a lot of bad reviews for the TS-212. A lot of "I used to use them but got something that sounds better". YMMV. I personally have never tried them. The Headrush 112 and the Alto TS-212, 312 look identical but there is a difference. According to Headrush/Alto - "As mentioned in my previous email, The FRFR 112 is a full range/ flat freq response, ideal for monitoring and does not have any preamp built inside for microphone usage compared to the TS series from alto professional. That would be the difference between the two items." The difference bertween the, 212 and 310,312 is power. The 212 is 1100 watts. 310, 312 are 2000 watts. Line 6 Powercab 112 $599.99 Powercab 112 Plus $799.99 https://line6.com/powercab/ Line 6 L2T $849.99 L3T $999.99 https://line6.com/speakers/ Line 6 Firehawk 1500 $799.99 https://line6.com/firehawk/ XiTone Michael Britt $959.00 https://xitonecabs.com/product/mbritt/ Mackie SRM 450v3 $499.99 http://mackie.com/products/srm-portable Yamaha DXR-10 $599.99 https://usa.yamaha.com/products/proaudio/speakers/dxr/index.html Bose L1 $849.00 https://www.bose.com/en_us/products/speakers/portable_pa_speakers/l1-compact-system.html Bose S1 Pro $599.00 https://www.bose.com/en_us/products/speakers/portable_pa_speakers/s1_pro_system.html?gclid=EAIaIQobChMIudPX24XE2wIVWbbACh25EQ0CEAAYAiAAEgIHKfD_BwE&gclsrc=aw.ds Aspen Pittman Center Point Stereo Spacestation V.3 $879.00, Spacestation XL $1549.00 http://aspenpittmandesigns.com/spacestation-v3/; http://aspenpittmandesigns.com/spacestation-xl/ Yorkville YX10P $389.00, NX750P-2 $1019.00 http://yorkville.com/loudspeakers/yx/product/yx10p/; http://yorkville.com/loudspeakers/nx/product/nx750p-2/ Peavey PVX12p $399.99 https://peavey.com/products/index.cfm/item/665/118109 Electrovoice ETX12P $1,199.00, ETX10P $1,099.00 https://www.electrovoice.com/product.php?id=2583; https://www.electrovoice.com/product.php?id=2591 Barefaced Bass FR800 $1,199.00 (This was suggested for bass. Yeah I know. DUH!) https://barefacedbass.com/product-range/FR800.htm JBL EON610 $399.00 http://www.jblpro.com/www/products/portable-market/eon600-series/eon610#.WxpwWrifY38 JBL EON615 $499.00 http://www.jblpro.com/www/products/portable-market/eon600-series/eon615#.Wyjz-rifY38 RCF Art 310-A MK4 $499.00 https://www.rcf.it/en_US/products/product-detail/art-310-a-mk4/210051 Speakers Faital Pro 12HX230 $Unknown probably around $250.00 http://www.faitalpro.com/en/products/Coaxial_Loudspeakers/product_details/index.php?id=351050010 Eminence BETA-12CX $74.99 https://www.eminence.com/speakers/speaker-detail/?model=Beta_12CX Eminece BETA-12LTA $74.99 http://www.eminence.com/speakers/speaker-detail/?model=Beta_12LTA Celestion K12H-200TC $90.00 https://celestion.com/product/138/k12h200tc/
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