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DunedinDragon last won the day on August 3

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About DunedinDragon

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    Dunedin, FL
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    Gear: Helix, Yamaha DXR12, Les Paul Standard, American Strat with Lace Sensor pickups, Gretsch Silver Falcon, Epiphone Sheraton II Pro
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  1. Most any speaker will work fine with the JC120 as it's a nice clean amp. It depends on the sound you're after. I've used BlueBells, G12M, Creambacks, Redbacks and even Fane IRs. Mic combinations and arrangements will also play into the overall sound, so there's no real answer without knowing what kind of sound you want.
  2. Generally speaking, there's nothing you can get out of an IR that you couldn't get out of a stock cabinet. It's just more work to do it. Here's a good real world example. The sound of any cabinet is really determined primarily by the mic or mic combination being used on it and how that mic is placed to capture the sound. Often the most realistic sound comes from combining different mic types such as a dynamic mic and a ribbon mic placed in different locations on a cabinet. Once you know what mic types you like and how you like them placed, if you were using Helix stock cabinets you choose a Dual Cab block so you could place the dynamic mic on one and the ribbon mic on the other and setup the placements (as well as other parameters) in each cab to get what you're after. if you were using an IR you would just select the IR that uses your preferred mic and placements and you're done. However you can't change those mics and placements without changing the IR. Either way you're going to need to understand the different behaviors of different mics and know what kind of placement tends to work best for you. If not you'll just be shooting in the dark and wasting a lot of time trying to discover what you tend to like. I think a lot of us that have been doing this for a while have come to some conclusions about what works best to our ears. For example, 99% of the time I'm going to use a MD421 dynamic mic in combination with an R121 ribbon mic. The placements may change slightly depending on the song, but it's almost always the same combination whether it's a stock cab or an IR. It's true that stock cabinets use less DSP than IRs, but I suspect that's only true if you're not using a Dual Cab setup. When it comes to using multiple mics and placement I suspect the IR wins, especially if you use the smaller length (1024 versus 2048). Another consideration in favor of IRs is that, because of the way they're created, there is no additional DSP cost if you want to use more than just two mic and mic placements. One of my more often used IRs is the Ownhammer Massively Multi Mic'd IRs for the Marshall Basketweave cabinet in which 1 IR can have up to 5 different mic's and combinations. I'm not sure if you could even achieve such a thing with stock cabs without running into DSP limits. Bear in mind I use the Helix Floor so I don't have the same DSP limits you might encounter on your Stomp.
  3. There are some known device interrupt problems with certain other devices such as the Logitech port hub. You may have encountered this problem if you had any kind of Windows update that might have replaced some older drivers. Definitely not a Helix problem. If nothing else you can always try using the Windows Event Viewer to see if you can isolate the driver causing he crash.
  4. DunedinDragon

    Drum Box

    It's highly unusual and rare that Line 6 ever discusses future features especially those related to amp and effects. My personal insticts tell me that a drum kit would be well outside of the scope of what Helix is about, so I'd be surprised to see it.
  5. You must have misunderstood the purpose of the Helix. It's a performance tool (live or recording). Other people have built machines that excel at file management called "computers" where you can arrange your presets to your heart's delight then load them into your Helix when you're ready to perform. Not only that you can have them backed up constantly to other drives or even the cloud to make sure they're secure. This may be a case of "If all you know is a hammer then every problem starts to look like a nail".
  6. I would still suggest you're making a broad set of assumptions about why there isn't a full featured looper system in the Helix based on YOUR needs, and not necessarily the market needs. It's been my experience with Helix over the last 5 years are that the things that are most readily responded to by the development team are the ones that have the widest application across the user base and specifically within the scope of the product. I've seen interest in expanded looper capabilities occasionally, but it doesn't really compare to request for features like better management of IRs or polyphonic pitch shifting which we know is on the table for development, but isn't there yet. R&D costs are relative because they're measured against the potential market growth. That's the product development view which is very different from the development view. We understand L6 hired expertise in polyphonic coding, so that certainly was a big R&D cost, but measured against the market share for POGs and such, and the fact that falls clearly in the modeling segment of the Helix market potential makes it a worthy investment. I'm not sure I could say the same as far as complex looper usage. You see it occasionally out in the field, but not to the extent you see POG-like features being used. And there may be other physical limitations in the Helix design that make it problematic. For example looping is really a very simple recording and playback functionality, but the Helix is designed more specifically for modeling suggesting it is far heavier in DSP computational resource programming than it is in managing large memory resources which would be something necessary for more complex looping situations. Quite honestly I don't care either way because I don't use a complex looper and have no need for one. If it shows up, that's fine as long as I'm not force to pay for it on an upgrade or something.
  7. I'd agree with the previous posts for studio monitors given your description and need for stereo output. I use Yamaha HS7 speakers for the studio and I use a Yamaha DXR12 for all my live work where I don't need stereo. Whatever you choose be aware that you get what you pay for. There are cheaper studio speakers but they won't compare with the bigger and more expensive and more professional units.
  8. Now why would you take it out on the Helix? It sounds to me like your Logitech GHub might need a couple of tire tracks across it...
  9. There's nothing magic about the presets that come with the Stomp. They're just created by someone back at the factory as example presets and you could create one just like it or even better if you put in the time to learn the Stomp and all it's features. You are correct, however in saying the Stomp can be complicated because it's a highly advanced system with an easy to use interface that hides a lot of complexity. The bottom line, the more you're willing to learn, the more you'll be able to get out of it.
  10. I have to admit I'm not the least bit concerned about the limitations of the looper in Helix. But that's because I'm part of the massive crowd of people that's never found a need for one. And I suspect that may be what's behind Line 6's thinking on such things. Looper effects such as those mentioned above by datacommando are in a category of much more specialized effects than the common distortion, compression, eq, delay, reverb, modulation...etc. that come with the Helix. Things that most, if not all of us commonly use. And I'm not sure I, or many like me, would be willing to pay a significantly higher price for my Helix due to it hosting an effect I'd rarely ever use. If you have a driving need for it in your performance feel free to get a good one that fits your needs and use the send/returns provided.
  11. It's a pretty good bet it ain't HX Stomp 3.0!!!!!
  12. I'm more or less guessing here, but Chromebooks don't run a typical Windows OS but rather a chrome browser that looks a bit like Windows. That being the case it wouldn't have the device support available to Windows.
  13. Generally speaking when you route your signal through the sub the sub only forwards the signal above the cutoff level of the sub to the speakers. For example, if your sub cutoff is at 125Hz it will send everything above 125Hz to the main speakers and play everything below that point in the sub. The concept being it isolates the very low frequencies from competing with the higher frequencies in the main speakers providing greater clarity. Since there's not a whole lot of guitar information below the cutoff I'm not sure there'd be a lot of benefit if it's just guitar.
  14. Not to beat a dead horse.....but....Helix represents a different category of modeling than what you're used to. It presents a user-friendly interface on something that has a LOT of depth to it. That's what gives it the versatility to precisely achieve the things you want to achieve. Older modeling units like the POD and even units like the Spider series are much more of a "packaged" unit making it easy to accomplish decent sounds without having to understand the complexities involved in music production. The same CAN be true of the Helix, but there's far more available to you if you're willing to leave your past behind and accept the challenge and resultant flexibility of what's available in today's high end modelers. There are a number of technical disciplines that can be useful in deciding how you want to use the Helix. The more you understand about live sound reinforcement techniques for live performances and studio recording techniques for studio work, the better decisions you'll be able to make about how you ultimately want to configure your Helix. A lot of that will depend on how you personally will be using the Helix whether it be for home practice, recording, or live performance. The Helix in NOT just a simple plug in and play kind of unit. Many musicians in the past have been perfectly happy to have a set sound they prefer so they find an amp and effects and configure them to produce that sound in isolation. If they play live they depend on the sound crew to take their stage sound and mix it with the rest of the band through the PA using whatever magic the sound man might employ. That's perfectly doable with the Helix, but it's also less than optimal. Understanding the technical aspects of 'Unity', signal levels, positioning, adjustment and routing of effects, amps and various components within a signal chain, EQ, cabinet and mic'ing techniques are all essential elements in being able to predictably produce a consistent sound both on stage and for the audience whether that be in a studio or live, all of which are things you now have completely under your control in a Helix unit. The better understanding you have of such things, the better your Helix will serve your purposes. Even planning workflow and production elements become disciplines that can either serve you and hamper your efforts in both recording or live performance. This has a bearing on how you organize your presets and snapshots to adjust customize your sound and flow and dynamics of the music or the way you organize your recording or live performance process which will have an impact on how you might use the inputs and outputs of the Helix. I bring all of this up because it's highly unlikely you'll get everything right and perfect for your situation the first time you plug in. If you're like the vast majority of us that have been using the Helix for several years, you will grow and modify your approach over time as you learn and get better at things. But that's why this and other forums as well as many great training videos can be of great use if you take advantage of them.
  15. This is really dependent more on your skills of dialing in your preset than it is the capabilities of the Helix. The Helix can do whatever you tell it to do.
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