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Everything posted by pdkellett

  1. All of a sudden my Helix seems to be having foot switch problems. FS1 works but also triggers FS3, FS2 works but also triggers FS4, FS3 doesn't do anything when pushed, FS4 doesn't do anything, FS5 and FS6 work normally. The row of foot switches below behave similarly: FS7 works but also triggers FS9, FS8 also triggers FS10, FS9 doesn't work, FS10 doesn't work, FS11 and FS12 work. It did this to me earlier today - rebooting didn't fix it, unplugging USB didn't fix - but then it went away for a while but has come back again. Any ideas? Can't use my Helix at all now really. Does this no matter what preset / setlist I go to. I'm on FW 2.21 One thing I can think of is to do a Firmware reset? Help!
  2. I'm amused that so many people who don't want an "amp in the room" ability are posting here and questioning why those of who do want this want this! I don't think anybody is questioning the usefulness of modelling a mic'd cab when it comes to getting consistency and playing live with FOH considerations etc etc. But there are PLENTY of us who don't always play live, or who like to practice, or just jam at home who would love to be able to have a digital modelling setup that can provide us with lots of amps and versatility and have it sound like an amp in a room. Why is that so hard a concept to grasp for some? Whether it can be done or not is entirely separate - and some people have put great arguments forward as to why it can't. That's great and I for one have learned a lot from those people on this thread. But bashing people for hoping they can have a digital way of having access to multiple amps that sound like a real un-mic'd amp in their room is all a bit narrow minded....and tedious.
  3. To anyone else who reads this - I finally managed to get the Helix to do the update. I tried pretty much everything. I swapped USB cables and that alone didn't solve the problem - but then I tried holding down FS 9+10 whilst powering on and finally the update then starting progressing as normal. All I can say to anyone else who has this problem is to just persevere and keep trying different things / combinations and eventually it worked. Go figure.
  4. Hi - I'm having exactly the same problem - but I never tried to update the firmware directly - I did the Helix editor download first to upgrade from 2.01 to 2.11. I backed up all my presets / set lists and IRs before downloading the 2.11 editor update. Having done all of this - i then launched the Line6 updater (showing version 1.10) and proceeded with the online update for firmware 2.12. Everything was going fine till it said "Helix Update Failed" please switch off / on the Helix and try again. When Helix comes back on it flashes between Helix and Helix Rack and sort of sits there with the Line6 logo in the background. Line6 Updater see's it as a Helix 2.12 but every time I try to update it again it just fails. I've pretty competent at this and have done all the updates since version 1.0 and never had this issue. I've tried holding down FS 6 + 12 but then the Line6 Updater software doesn't see the Helix at all. I tried going back to FW 2.00 and the updater seems to complete the update but the Helix unit will not reboot and rebuild setlists. I reboot the Helix and goes back to flashing Helix / Helix Rack and the updater software see's the Helix as 2.12 still. What a pain! I'm using a MacBook Pro - have used different USB ports and no joy. I even tried doing an offline update and that failed too. I'm running MacOS Sierra 10.12.2 What do I do?
  5. There's an amp in the headphone thread!? Awesome! I'll take a look. Thanks!
  6. So I've been doing some more experimenting on this and here is my conclusion at this point - more of a general conclusion about amp sounds on the Helix versus the Kemper - not just specific to getting an Amp in the Room sound. I'm lucky enough to have both of these things (for various reasons) so thought I'd share these learnings. The Kemper has a way of truly sounding like a real recorded amp. Most likely this is because it is actually profiling the sound of a genuine real world mic'd up amp. The Helix is a pure digital recreation of an amp + cab + mics (obviously) and I genuinely have to say it does this very well. The ability to tweak and adjust all kinds of settings is tremendous. The dynamics and feel of both of these are great too. I play both of these through headphones when I want to play at home in the evenings and can't use my real amps. I have the Kemper setup with about 3.5 of the Space effect on and Pure Cab setting to 10 too. The Kemper literally sounds like an amp in a studio being played back through headphones. The Helix actually sort of sounds more accurate - but almost too accurate - no matter what mic / EQ / compression / early reflection settings I have setup. Its like the attack / upper mids is just a little too aggressive / bright. An analogy might be that its as if the Kemper sound has been recorded using good old fashioned tape - ie. there is some compression and smoothing of the sound and there is a super natural bass sound that comes through. And there also seems to be some sort of "distance" between the amp sound and what I hear in my headphones. I truly believe the Helix just needs some sort of effect (like a combined Space / Pure Cab filter in the Kemper) and maybe some kind smoothing to just take the edge of its "too accurate" modelling and help create the illusion of "a real amp being recorded". Maybe the Helix could have a model of one of those famous mic pre-amps / compressors added as an effect block to help model what I believe sound engineers actually use post microphone when mic'ing up a cabinet. Could this possibly be a feature request? I don't think I'm unique in how I hear the difference between these two units as I've read others say similar things. At the moment I still prefer to use my Kemper for "digital" amp playing / recording to DAW. But I would much rather be using the Helix due to absolutely everything else about it. In the meantime - if anyone truly knows how to use a DAW / plug-ins to help tame the accuracy of the Helix please let me know as that could be a workaround as well.
  7. Just updated to 2.01. I've gone into a preset of mine which defaults to Snapshot 1. Opened up Command centre and selected an instant command to send a midi command to my amp channel switcher - channel 1, program 2. Hit save. I then change preset. And then I go back to the preset I just setup as described above. When the preset loads it defaults to snapshot 1 and I can see my amp controller receive the midi command but then it's like the controller receives a second midi command from somewhere which overrides my first program 2 command (it seems to receive a program 1 command from the Helix) But i have no other commands programmed in anywhere. THere is nothing connected to USB, no DAW that might be sending midi commands either. If I then select snapshot 2 (no instant commands setup for this), and then switch back to snapshot 1 - the amp controller receives the instant command fine and all works normally. Don't understand what could be causing this to have problems when selecting the preset initially, but works ok when going from a snapshot in that preset to snapshot 1. Any ideas? It seems to work ok in some other presets too, but not all.
  8. roscoe5 - you're definitely onto something here. I just tried several rock amps in the Helix with a dual cab setup like this: Greenback 25, 4038 condenser, 4 inches, 40% room reflections Cali V30, 87 ribbon, 12 inches, 75% room reflections Room reverb set at 2secs, 50% mix And oh my god - even a quick setup like this is so much more like an amp in the room, a loud amp in a room anyway! I used a Brit 2204 amp in front of it, added an EQ after the cab (boosted the 8khz by 3dB) and before the room reverb and it f'ing rocks. It even starts to sound a bit like my Friedman BE100 - in the room - but with headphones on. My kids can now sleep and I can crank it and never the twain shall meet.
  9. 8000 dollars - thats a bargain! Line 6 - the answer has been found... I do get that what I'm suggesting is not easy, and might not make much sense, and maybe can't be done. But I'm pretty sure everyone thought amp modelling couldn't be done and thats my point. If all it takes for now is a bit of EQ and mics placed at distance then that could be a preset mic combination or an effect block of its own with a few parameters to tweak maybe? Maybe someone can do an IR of 2 appropriate mics at head level about 5 feet from an amp??? I think there are an awful lot of us amateur / hobbyist guitarists that would seriously love a basic amp in the room preset that basically just allows us to have a good warm tone that sounds like an amp in the room so we can play away using the Helix at home etc. - be it on an FRFR speaker or just headphones. I think that's basically what Pure Cab does on the Kemper - and it sounds good. roscoe5 - I'll give your idea a go.
  10. I think the problem here is that not enough of us know how to use multiple mics, different distances, etc etc to create our own version of an "amp in the room" sound. Speaking as an electronics engineer I completely understand the complexities of coming up with something simple that can give me the sound of an amp in the room without being reliant on microphones to sample the sound of the cab I want to replicate. What strikes me as interesting is that (luckily for me) I have a Kemper too and it can do this very well with the Pure Cab function. How it does this I do not know - sounds like a clever balance of knowing what EQ parameters to tweak and an understanding of phasing / filtering issues that typically come up when micing cabinets or trying to EQ them after. Surely sound engineers / producers that work in this area are experts at knowing how to remove the coloration that mic's introduce - its why they use multiple mics and move them around when recording in the first place surely - so that they can get that "amp in the room" sound. Can their expertise not help out here? Or perhaps the frequency response curve of a microphone (which is always measured and documented) can be inverted and applied to the sound as an effect block? We then get the impulse response of the cab - but without the sound colouration of the mic? Surely even the impulse response of the mic can be removed too? The trick is not to worry about the reverb of the room that the cab is being played in - this can be added in using reverbs to simulate a room / studio. Its how to remove the coloration that the mic introduces. There is a section in the Kemper manual that talks about the Pure Cab feature and it does it very well. Mics make a distorted amp sound harsh. My SM57 makes my amps sound harsh. Micing my cabinet does not sound in anyway like my cabinet normally does unless I do considerable tweaking in my DAW afterwards. Surely though in the world of DSP where we can digitally model a diode or a pre-amp valve from an amp (presumably by taking electrical measurements before and after), we can model a speaker cabinet too either using electrical measurements, acoustic measurement, or just applying inverse frequency response curves of a mic? How do Kemper do it? Its probably an approximation of where typical harsh frequencies occur and EQ'ing with special DSP algorithms that don't introduce phasing problems. Imagine 50 years ago someone saying they'll create a black box that can impersonate 50 different valve amps. We'll its a reality now. Microphones are a necessary evil to capture the sound of an amp (as things stand) but they are actually a horribly inefficient way to do it due to all kinds of reasons. The time has come to model a cab without being dependant on mics to do this. That will be the day that amp modelling has truly broken through and becomes the ultimate tool for playing and recording and getting to a place where we aren't all trying to work around the complications and frustrations of microphones. The amp can be modelled, the cab can be modelled, and microphones can be modelled - that will give us all the flexibility we need to capture old recorded tones, or play live like the amp is just in the room.
  11. phil_m: Thanks for the rapid response! I had thought about using this but then got confused as to how to do it. Do I setup an instant command per snapshot - thus changing channel when the snapshot is pressed and not requiring a dedicated footswitch be in the preset? Or do I need one footswitch in the preset but I change the value of the program change command in each snapshot?
  12. Hi folks, I'm using my Helix in all kinds of different ways and I've managed to setup my Helix recently to send midi commands to a Voodoo Labs Control Switcher to then change channels on my Friedman Brown Eye. I can do this as an instant command when loading a preset, or from a footswitch in the preset designated to send a program change command. Where I'm struggling is that the Friedman is a 3 channel amp - and as far as I can tell I need 3 separate footswitches in the preset if I want to be able to change between all the channels at will. The other problem is that I don't always know what channel I've selected as the midi footswitches only seem to work as "momentary" - i.e.. they light up when I select it but they grey out again afterwards. Is it possible to combine 2 or 3 midi commands into one footswitch such that it goes between 2 states - ie. when it sends the "clean" channel command the label lights up "clean" and stays on until selected again at which point it sends the command to change channel and "clean" now shows as greyed out? Or can a midi footswitch cycle between 3 states in a kind of loop? With the amp channel switching being one of the weaker parts of the Helix and not working with many amps I'm hoping there is a clever way to reduce the number of footswitches needed and to help make it more obvious which footswitch I last selected. I'm hoping I'm missing a clever trick here that will help. Thanks.
  13. Which Friedman amp are you using? I have a Brown Eye (BE100) and I'm paranoid of testing it with the Helix amp switch in case something starts cooking/shorting somewhere. I've tried it with a Marshall 2555 and it didn't work - after a couple of minutes I also noticed a "hot electronic component" smell coming from the Helix so whipped out the cable to avoid damage occurring. Want to avoid this happening if I plug in the Friedman!
  14. Line 6 team - I just wanted to congratulate you all and say what an awesome piece of kit this is. I used to use a G-System but those days are now dead and buried. The versatility and flexibility and transparency of this unit is phenomenal - especially when using this in 7CM with two Friedman Brown Eye's in Stereo where Loop 1 goes to left BE pre-amp section, Loop 2 goes to right BE pre-amp section. The tone of my Friedman just oozes through wonderfully. And all of this at this price point too! Its so much better than the G-System in terms of tone and transparency its amazing. Not to mention the flexibility and ease of use. I did a lot of research online before buying and couldn't quite find enough reviews about using it as an FX unit only - so thought I'd post this for others looking for info. I considered the FX8 too but made the plunge for this and will not be looking back. The FX8's routing flexibility is a long way behind the Helix. I hear its FX are better - if so they must be mind blowing as I can't really fault the Helix. The amp modelling is not as important for me - but I do think these can be made a little better. I have a Kemper too and in my opinion it's still superior - the amp tones just sound less digital. But obviously a Kemper is not a modeller. The only aspect a G-System still wins on (which is surprising) is the amp relay switching - with its dual outputs that allowed full switching of 2 amps independently. I look forward to lots of updates to this unit though - more FX, and possibly better / more flexible reverbs. Otherwise - this thing is about as good as it gets as a multi FX unit for real amps - especially if you have 2 in stereo. I think you should promote this aspect of the unit more as, in my opinion, this is its true strength until the amp modelling is made just a little bit more realistic.
  15. Managed to solve it. I rarely use my volume pedal at full (100%) and the toe switch was till enabled to turn on/off the volume pedal block. (even though the volume controller was set to use external Exp 2). So everytime I turned the wah on - it switched off the volume pedal block which meant my volume level suddenly jumped up to 100% as the volume exp pedal was now being bypassed. Problem solved. Thanks all.
  16. Thanks for speedy responses guys. @silverhead - I have assigned the volume pedal to an external pedal acting as Exp2 so the built in pedal is now only operating as a single expression pedal. The volume should now be separate from the wah. Interesting that billorentzen is having the same issue. I'm normally quite good at working this stuff out and I'm pretty sure the wah effect is somehow bypassing the volume setting of my Exp2 pedal and simply going to full volume when engaged - which sounds like the symptom your describing silverhead. The volume boost only happens when I click down on the toe switch of the built in Exp1 pedal.
  17. Hi - I can't seem to find any thread about this. I'm using my Helix in 4CM with a real valve amp (Friedman BE100) and I've initially been using the standard 4CM template which has the Wah pedal as the first block in the FX chain - which makes perfect sense. Whenever I engage the wah effect the volume level suddenly seems to jump up by about 12dB (I'm estimating here) even though the effect level is at 0dB. It gets quite a lot louder and I'm not sure why this is? I'm using the latest 1.12 firmware. I've tried turning down the level of the wah effect but it seems to ruin the feel of the guitar. Just wondering if anyone else is having this problem - or is aware of why having the wah effect in front of the pre-amp fx loop would do this? I have a separate expression pedal for Exp 2 and Exp 3 added too. Thanks
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