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Posts posted by BucF16

  1. I have deauthorized the old computer and authorized the new one but when I tried to use Helix Native I get a "Failed to connect to DSP engine. (Device has not been inntialized properly. [code -8201])" warning banner in a blacked out Helix Native window.

    I tried reinstalling Helix Native and restarting, then I was able to get into Helix Native and log into my L6 account from within the Native window.  However, Helix Native told me I had too many devices authorized (which I don't). I tried deleting and reauthorizing but now it's even worse. When I open a project in Logic that uses Native I get a warning that there's a plug-in that is destabilizing Logic, and Helix only opens in a tiny little window that looks nothing like Native.

    Any ideas?

  2. I have 2 DT50 2x12's.  I bought a Helix last year and quickly decided that was the way I wanted to go so I put my DT50's up for sale and a good price.  After a couple of weeks on craigslist here in Phoenix (not a small market) I basically got no offers.  So I decided to keep them just in case someone else using my studio needed them.


    Jump forward to the last couple of weeks: I've been loaning my studio out to band working tunes for their next CD.  They tell me they're flying in their producer for the sessions.  I think nothing of it until I meet the guy.  Steve Berlin, grammy winning musician and producer, most famous for his work with Los Lobos.



    Also, some clips of the band I'm working with to establish some legit:


    Well, in summary, by the end of two marathon day sessions, we had 9 demos in the can, my beer fridge and Keurig are empty, and all of those guys are in love with my DT50's.


    I will admit that the tones I've typically used on them were usually higher gain (and lower volume!) than these guys typically use.  They did a lot of CRANKED fender tones (gain dimed, volume and master vol at around 50%), not something I usually do, but it sounded great for their stuff.


    These are guys Fender gives amps to for free.  I've seen them use Dr Z's and handmade customs on stage.  But I heard many unsolicited "wow's" and "this thing has balls" comments during the day.


    To top it off, Steve Berlin questioned me on them at the end of the sessions because he wants to pick one up for himself.


    So, if you're listening Line6, call Steve and send him a DT50 2x12 if you have any left!

    • Upvote 2
  3. I've had very similar problems. Some observations and some work arounds (if your problem was the same as mine).


    1.  I think it's more common with the corner inputs, 1, 6, 7 and 12.  Can't back that up, just my observation.


    2.  I think it has nothing to do with trim tracking.


    3.  When the input level on a channel drops, it can be brought back by taking manual control of the trim on that channel and boosting it.  It seems to jump through some kind of barrier and a small trim increase can result in a sudden jump of input from the channel.  You should then be back to normal operation at least for a while.  


    4.  When the input level drops, it is frequently accompanied by a low level kind of white noise.   If it sounds like a gentle wind is blowing across an open microphone or maybe like you've blown a speaker, it could be an input drop issue that you need to find.


    5.  If you have a soundman who's on the ball, he can generally completely nullify this problem by carefully watching the input levels of the troublesome channels, listening for white noise between songs or quiet parts, and "goosing" the trim of channels that are giving you problems.


    6.  I sent my M20D back to Line 6 twice.  It seems to be working good now but the second time I think they replaced the entire inside of the device.  The first time was right at the end of the warranty and the second time was about six months later.  They did not charge me for either.


    7.  I think the guys who found that this is a physical grounding issue are right on.  If you can, I would send it back to the manufacturer for service.  My experience with "authorized service providers" is that they have very little idea what they're dealing with.  For something as rare as an M20D, I think you have a low probability of success for problem like this with your local electronics dude talking long distance on the phone with Line6.  Just send it to Line6.


    8. Monitoring this board I've seemed to notice that service in the US is better than Europe/Canada.  I live in Arizona, less than days drive from the Mothership. They've always been outstanding on the phone and haven't hesitated to take something back for service.  However, it seems like some of the European dudes have ended up with much longer wait times and issues between retailer, manufacturer and service where no one wants to take responsibility.


    I've been a LONG TIME line6 user and love their products.  I absolutely love my M20D in concept and when it's working correctly.  However It has been the most unreliable piece of gear I've ever bought from them.  I'm praying that they keep in the game with this mixer or some next version that comes along.  They really need to be making a 24/6 version to be serious in the market.  It seems like most of the places I've played in the last year, Presonus has really locked up a lot of that market.

  4. You can still manually put it back to PA/Reference mode when it's on it's side.  If you're just running your guitar through it, I'd use PA/Ref.  However a lot of times I'm using it as a monitor for the band with my guitar mixed in, then I usually use monitor.


    YMMV.  Again, I've found that where the tweeter is pointing relative to your ear makes the biggest difference at band volume.

  5. Did you need to do a lot of adjustment to your patches as well as the factory patches to get them to sound good using the L2 as a floor monitor in Reference/PA mode? The manual says that the only difference in Floor Monitor mode is that they have removed some of the bass frequencies that are present when the speaker is so close to the floor. I have found that the L2T is much better horizontally on the floor in floor monitor mode!


    Again thanks for all the input!

    I did a side by side comparison of the speakers in different configurations and compared with a QSCK12 before I really started tweaking so I couldn't really tell you. I really liked the QSC BTW but I only have one of them and we're typically using it as the drum monitor.  The L2's are good speakers, but the K12's bigger speaker and more power are better suited to the drummers monitor.

  6. As a guitar player using the L2's more and more as FRFR for electric guitar I DO NOT like them vertical.  You really need to be careful about the horn's position relative to your ears.  Maybe if they're on stands you can get them high enough to get a lot of the 10" speaker to your ear, but if not, you will get way to much high end.  I use them in PA/Ref mode sideways (horizontal) all the time and like it better that way.  Plus it looks a little more natural on stage that way.


    Vertical on the floor sounds awful BTW.

  7. 60w Solid State isn't very loud.


    Real question of how good your PA is.  If your PA is solid then you shouldn't need a lot.  I use L2's on their sides pointed back like monitors and they're plenty loud for monitoring (they only have a 10 inch driver but they're great).  I've used the QSC K12 and it's an awesome speaker too.  Both of those options are pretty pricey though.


    If you need more stage volume to reinforce your PA then I'd go with a more traditional cabinet or amplifier.  That IS NOT a FRFR most likely.


    If you're using a true FRFR, it will have a horn tweeter.  Lately I've found placement of the horn relative to your ear at high volumes is VERY sensitive.  So, I DO NOT place either the K12 or the L2's vertically when using them as guitar speakers.  The tweeters disperse sound in a vertically biased pattern, and the driver is more directional.  Therefor you end up with the low end driver sound passing under your belt without being heard and your ear getting nothing but tweeter...and it sounds like crap.

  8. I will add that since I've been using the L2's for guitar speakers I think they sound better in PA/Reference but with the speaker on it's side.


    With the speaker vertical and with the horns dispersion pattern, I get way too much of the high end to my ear.  With the speaker horizontal it sounds much better.


    This is really only an issue on stage with the band and the volume up.  Playing at home at more civil volumes I don't really notice a huge difference.

  9. For my specific problem I was told on another forum that this IS a bug in 1.06.  Specifically the problem occurs when the footswitch that calls up the patch is the same footswitch that is used to turn the effect on.  The bug is that it will always initialize to "on".  If I moved the effect to a different footswitch for this patch only it would work fine.

  10. When you save the patch is the delay on or off? Make sure it is in whatever state you want it to be in when recalled, when you save it.

    Did this about 20 times:


    turn delay off, hit save, acknowledge save, change program, return to program, delay is on.  Lather rinse repeat.  Ponder symptoms of insanity. Same result.



    Guess I need to film it.

  11. Guys, having a problem with Helix remembering a footswitch assignment.  I have a delay assigned to a momentary footswitch and upon changing programs and coming back to this patch it comes up different than saved.


    I save it as delay off with a momentary footswitch to on.  Then save the program.  Change programs and it comes back inverted with the delay on and the momentary footswitch turning it off.


    No USB or midi cables connected.  several power cycles tried.  I can't say for sure but I don't think this happened with tape 4 but I just upgraded to 6 yesterday and noticed it then.


    I've used the same technique in other programs without a problem but had the delay in serial.  In the program with the problem, I have the delay after a split in a parallel path.  I've tried moving the delay around and changing it between a couple different models with the same problem re-appearing.

  12. I've been using Helix for a while and I don't find the patch change time to be any kind of a significant limitation.  If anything I've found the very brief fade-out-fade-in that it does helps make jarring timbre changes slide together better.  


    If that's not fast enough for you, any changes within a patch are to my ear, instantaneous.  And I have yet to max out the capacity of a patch.

  13. Electrik is similar to the Engl model only not as dark.  It breathes a bit more and has more sparkle.  I think, if my story is correct, that it was the result of initially modelling the Engl in HD modelling but then realizing while it was not a faithful reproduction, it was a great sounding model.


    Can't talk about Epic or Doom.  I don't use either of them right now.  Might find a use for Epic but Doom doesn't fit most of what I play.


    A bit off topi but:

    In general I have always been a big fan of some of the Line 6 originals in past products, so I usually don't shy away from them at all. Some of my faves:

    Black Panel Pete...awesome's been on almost every product they've had.  Again I think it's origins were from early attempts to get the SLO overdrive channel.

    Chemical X

    Agro...been on several of their products

    I think in the Vetta I also used L6 clean and sparkle clean a lot.

    • Upvote 1
  14. Nicely done!!! How many songs do you guys play in a show?

    Rock on,



    Longest set we'd run in this format is 2 hours.  We have enough music for that right now but for the next couple months we're only doing double billed shows so 1-1.5 hour sets.  You can check out our contact stuff or view other videos if you're interested at:



    Youtube Channel: KansAZ a tribute to Kansas  ( )

    Facebook: KansAZ a tribute to Kansas

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