litesnsirens

That worked perfectly thanks a lot for the suggestion. I just used notepad. It's a bit of sifting to find what you're looking for, especially because I have to sort through the snapshots for the different chords and there's a bunch of other blocks in there for the guitar sounds, but I'm very happy to be able to edit with this kind of precision. I'm going to make snapshots of all the major chords and all the minor chords and spread them out over a couple of presets. If I'm not mistaken you can copy and paste snapshots across different presets.

Thanks for your reply .... But, Wow! Someone at Line 6 decided to detract from the resolution so that we couldn't use the 4 oscillator synth to create chords? Hopefully it was an oversight and can be fixed. I mean what could Line 6 possibly have against chords? I'll have to look more into the this notion of text editing a preset file until Line 6 fixes this. Do you know if there is any threads on text editing preset files. I'm going to search YouTube in the meantime.

Does anyone know how to adjust these frequency parameters more precisely so that I'm not limited in the chords I want to create. I may be missing something but anything above 100hz goes in multiples of 10. So if I wanted to create a G chord using the 4 oscillators I would need, for example of a voicing of G, G = 98 hz, B = 247 hz (more precisely 246.94), D = 294 hz (293.66) and G again at 392 hz. But I can't get any closer than 98, 250, 290 and 390. This isn't close enough. I think without the decimal points it's going to be close enough, I'll settle for single digit increments above 100hz as opposed to multiples of 10.

I can use a single footswitch, I just have to hit it once to engage the harmonies and then again to turn it off. Which in many instances is fine like if the chorus of a song has harmonies all the way through. It's when I just want to harmonies on a single line or a couple of words or even a single word that it gets tricky and I need momentary. Unless by using 2 footswitches you are thinking of some sort of trick that is going over my head. The closest at this point is the expression pedal. Unless either line 6 or TC Helicon comes up with a firmware solution.

I went ahead and bought the Helix and took the LT back and I love it. Now back to the issue. I tried using the Midi CC as opposed to the toggle because on the Helix that kind of works in momentary. ie: the LED is only lit while depressing the footswitch. But it just turns on the effect on the VL3 and doesn't allow any way to turn it off. I don't know enough about continuous control to know if this is a Helix thing or a VL3 thing or neither. It would be good to have an option to have the Helix send another value when you let go of the switch in the midi CC setting.

I have to agree. This should be something you have control over and it should be obvious how you control it. Including a manual menu in the controller assigns. If you go to the command center to control Program Change Toggle CC midi assignments you will see 2 of the control parameters, Dim Value and Lit Value. They are defaulted at 0 and 127 respectively but obviously you can turn the knob and make it what ever you want allowing you to reverse it. They should have similar settings in the bypass functions of the footswitches. If you have a number of effects in the by pass state and a number in the active state, it should populate the menu with perhaps the first item assigned and then an asterisk to indicate that it's not the only block that is in the active or by passed state. You really wouldn't even need both you could just have Lit Value.

I couldn't sign in for a few days for some reason so I couldn't respond earlier. I will take your suggestion and see if there is anything that can be done on the VL3 side of the equation. I had messed around with using the pedal and it's not a terrible option. You can reduce the outside parameters from 0 and 127 to make it less a drastic action required on the pedal which makes it pretty useable. I would still prefer to be able to do this on a footswitch but if not I have some other options.

That's OK... Yes i was using the toggle I just don't see any way to make it momentary. And based on the number of people who are showing an interest in this it's not likely to gain enough traction in ideascale to make it into a firmware update.

I just bought a Helix LT, having said that it's less than 30 days and I will likely return it and get the Helix. Mainly because now that I am seeing the power of the command center the scribble strips become that much more important. Now on to my question, I've read through the manual and I may have missed it but I can assign a bypass for an onboard effect to a footswitch and have it in momentary mode but I don't seem to be able to do the same when sending a midi CC message. I thought it could be a midi limitation but ultimately it should be as simple as when the switch is depressed it sends 64-127 and when it's let go it sends 0-63. I've been having success programming the helix to control various functions on my voicelive 3 and I would like to leave the VL3 away from my feet and just have the Helix there. But I do like to be able to just have a momentary switch to engage harmonies . Have I missed something? Or is this not possible at this time? I tried setting the switch to momentary for the bypass function and then adding the midi CC message but that didn't work.

Perhaps my trims are set higher across the board but if I try to run the mains hotter than what I am doing people's ears will start to bleed...

Geez, some of these guys should have their licences to sell gear revoked. To expand on my set up above, from the mixer I'm going to Lin6 speakers L3t (x2) and L3s (x2). I played my modelling setup through Bose L1 speakers in the past and it sounded great and I've run it through various other brands when using a house system. But through these Line 6 speakers it's better than anything else I've tried, it's the most organic sound and coming from a modelling device, it's really hard to believe. I would recommend their tech/speakers as the compliment to your modelling gear whether you are using Line 6 modelling or not. Now I can't speak to the Firehawk 1500 directly, but if it stacks up against the L series PA speakers it's gonna kick butt in this department.

In fact, it would work better in reference mode for bringing your vocals back to the L2t to monitor. It's going to take you a bit of work redoing your tones to sound as you want them in reference mode but once you figure out the "formula" on one tone it should at least get you close on the rest of them. It should just be a matter of engaging the speaker sims and choosing the right one for the tone you want.

as sapca pointed out along with the individual tracks there is an option to also record a stereo track which would probably show up as tracks 17 and 18. You should check if they are there. You may have inadvertently done that and may have a good stereo mix sitting on your drive.

I had the cut out issue and as much as it pained me to do so, I switched to a different board. I can't see myself switching to different speakers though the L3t's and L3s's are amazing. My band is always complimented on our sound, and I have to say on the few occasions when we actually other to do a soundcheck and I stand out front while the other 3 play, I have to agree it's really crisp, clear sound with full bottom end that isn't boomy or muffled just nice and tight. The only thing I have been toying with regarding the speakers is switching from the L3t's to the L2t's. Only because the top speaker in the L3t's is dedicated to sub frequencies so I don't think they are doing a heck of a lot once you engage the L3s's and the cross-over is kicking in. Given that, the L2t's would be smaller and lighter for transport and set up.

Personally I think there is way less risk with the digital vs analog gear. You get to the gig and forgot to buy spare tubes. Or you're in the middle of a set with your analog pedals all chained together with the little 6" cables and one of those cables decides to cack out on you. Hmmm Which cable is it? Guess I'm going straight to my amp with no solo tone for the rest of the set. Both have happened to me and in fact after the cable incident I went digital. It started with just the effects all in one box but now I'm not even using an amp, just direct to board. And I've never been happier with my tones. That's after more than 35 years of analog pedals and tube amps. It's just quicker easier, and I find more reliable. If a tube goes, rebooting your amp won't help it. With a digital modeller, 90% of the time it actually will.

I think the Helix is going to be superior in the amp and effects models. It's newer tech with higher grade processors. So you could do either or with it, if you want to just plug your guitar directly into it at home instead of setting you your whole rig you could do that. If you want to use the Helix and bypass all the onboard processing just plug the outputs of the helix into the stereo effects return of the Firehawk. What the Firehawk doesn't give you is Line 6 link but you get Bluetooth which could come in handy. Both are viable options.

Have you tried Elixir guitar strings? They are coated and do a lot for finger sliding noise, may reduce pick noise too.

I run mine as SiWatts suggests. There is plenty of head room from the board. It's unlikely at any inside gig that you will even get the mains on your M20d up as high as -10db. I got mine up that high once but was in a huge banquet hall. Most pubs I'm running at -15 or -16db. So the centre detent position is plenty of horsepower.

I took my L3t bag in to Long and McQuade for repair about 6 weeks ago, I haven't heard anything yet. If it's repairable that will be good news because then at least if it happens again I know there's a solution. They could be waiting for the wheel and housing and that's what is taking so long. Hopefully they order a bunch and keep them on hand. I can't be the only one using these bags and at some point the wheels are going to give. As with SiWatts, I don't want to diss the bags, they are extremely helpful and I can't wait to get this fixed. But I think inherently the speaker is just too heavy for the material used in the construction of this bag. I'll be sure to report back how L & M goes about this repair or if I end up forking out for another bag.

I didn't see any mic inputs on this amp.

Here is what I will add to Si Watts since I do play guitar. IMHO these speakers are great for modellers, especially if you want to be able to go from electric to acoustic. I play through a Roland GR-55 which has amp modelling, guitar modelling, guitar synth and guitar effects and the guitar tones through these speakers are better than through any other speakers I've tried which includes offerings from Yamaha, Bose and Yorkville. The one caveat I will offer is that you'll need ot build your patches through these speakers at the volume you want to play at. Don't expect your headphone built patches to translate directly. As for the rest, I agree with Si Watts, great for vocals and acoustic and for canned music. I had some L2t speakers when I was using them as monitors but sold them when I went to in ear monitors. I do still however use the L3t and L3s speakers as my main FOH PA. When I had the L2t's they were great for taking to a rehearsal or jam and I would plug my guitar into one channel and mic into another and it cut through without breaking a sweat and sounded great on both guitar and vocals. That said, I think they would cut equally as well at a gig doing the same thing. Now that I don't have the L2t's, I have to bring out the L3t's to do the same thing which works it's just heavier.

Yes that should work. All the inputs are sent to the line out on the back.

I see. I understand your theory but my experience is that the notches are so sliver thin and precise that I've never noticed them have any effect on the sound at all, EQ or level. That said, I think if you just cranked the PA and let the FBS continue to identify and notch out frequencies until it reached it's capacity it might be enough to start affecting the sound. That's why I just do the first 3 or 4 frequencies that pop up. If you ring out the first 3 or 4 it's seldom that you would have any other frequencies cause problems at normal levels.

As I was looking at the various diagrams for the different possible setups using various L6 speakers, I noticed that there was a setup that was not shown, so I am wondering if it's either not possible or simply not considered. So any of the diagrams that are using an L3s there is always a mixer involved. Now to my mind, this makes sense for any other speakers from any other manufacturer. But I was wondering if the Line 6 link could or does allow some magic that wouldn't be possible with other speakers. Suppose I wanted to use 1 L3s and one L3t and just use the two channel mixer on the side of L3t for mic and guitar and then the L & R aux inputs on the back of the L3t for backing tracks. Would using the Line 6 Link between the L3t and the L3s set and utilize the crossover point. If I used the M20d It wouldn't matter how I plugged in all the speakers as long as they were all connected in series from the M20d. So if I came from M20d to an L3t as the first speaker in the chain, it would still only get frequencies above 120hz (assuming that's the setting I choose) but would go ahead and pass all of the audio on to the rest of the chain allowing any L3s speakers that are connected to amplify everything below 120 hz. So it kind of makes sense to me that I could use the mixer on the L3t and then no matter which way I hook up the L3s (L6 link out from L3t to L6 link in on L3s or vice versa), the L3t should handle everything above 120HZ and the L3s should handle everything below. Does anyone know off hand if this is the case?

I thought FBS worked by identifying the offending frequency and then notching it out. I didn't think it did anything to the levels. Anytime I've wanted to use the FBS to be successful I've had to kind of ring out the room. That is to crank the main outs to cause the feedback intentionally and then listen for a few frequencies to start to feed back then get identified and eliminated. Then you can just lower the main out to the desired output level and play feedback free the rest of the night. Ultimately it's supposed to work differently than that, in that it just does it by itself as you're playing but it never seems to work quite as effortlessly as that. There always seems to be those frequencies that just kind of sneak in as a slight ring without hanging around long enough for the FBS to identify them. I'd have to really give this some thought, I've never had any issue getting the vocals to pop out on top of the mix. There must be some setting turned on somewhere that is causing this.