Rewolf48

Can’t comment on the Gemini, but are you aware of the just being released (this week) Line 6 Powercab models? I am only throwing it out there as something to also consider as I haven’t heard them to make a comparison.

Sound great. Our big July gig will be in a field, but we are fortunately playing to a marquee.... the beer marquee!

Yes.... but it is worth doing some tests first. The biggest potential issue with using speakers from different manufacturers is phase - if L3 and Mackie are out of phase with each other then they will cancel each other out (to some extent) and give you lower overall volume. You might be surprised as to how much power you have and how far it goes outdoors - we did a gig (and ran the PA for a couple of other bands) with a total of 2K of power amp driving the Bass players Subs (1K), Mids and Tops (other 1k), and apparently during our sound tests it was nice and clear half a mile away. Also consider is that Events in Parks are normally lots of things going on rather than being a music festival - so you don't actually need to cover the park; in our case we didn't get to run at any serious volume because we couldn't drown out the other stuff; so we set the volume to be heard at speaking volume 200yds away and that was plenty. Final consideration - you are outdoors, so perhaps stage has a cover but you should consider the weather, and the main PA speakers are generally the most exposed items. If there is a remote chance of rain do you really want your StageSource speakers getting wet? (I am in the UK so this is always a question!) Perhaps using the City owned speakers for the exposed locations covered by their insurance would be a more prudent option even if the sound is compromised a bit?

All Firmware versions are cumulative - so the improved acoustics in 1.8 are present in 2.2. Some people don't like the improved electrics in 2.0 so stick with older versions of the firmware (which you can install if you copy the files to local disk), but what you will lose with that is the advanced integration with units such as Helix

I have Helix Floor as my main interface and a Scarlett Solo if I am traveling light (work) with a Traveller Guitar, Reaper, Native and some headphones. It isn’t perfect, but it is a lot better than being in a hotel for 3 weeks with nothing.

Glad it is working for you too. The variax products just need a little bit more attention from Line 6 to the software and usability; for example Workbench HD if you had an VDI equipped effects unit (e.g. HD500/Helix) could set the global levels for you automatically in a calibration process. And more information about what the effect of many of the fine tuning options in Workbench achieve would be useful without relying on somebody working it out using spectrum analysers. Maybe when we get Variax Generation 3? With built in Guitar to MIDI over VDI and real time morphing of the models ....

Assuming that you want to record the main audio directly then yes you can do that - but if you are using L6 Link then your main outputs are unused... so why not use them? Using the Aux outputs means setting up a separate mix for the monitor, and on M20d it is expected that the monitors are mono while the main mix is stereo. If the resulting video needs to be the highest quality I personally would record all inputs to an SD card, and post mix an audio track for the video - that way any mistakes in live mixing or unexpected noises can be removed and a better mix achieved. It just depends on how much time you want to put into it.

Try using Workbench HD to turn down the global string levels to the point where you can hear that changing the level has an effect for what you think is heavy picking. The modelling has to cope with users playing using 13s or 7s sets of strings, it has to cope with featherweight picks or 50p coins, Pete Townsend windmills or the lightest caress using fingers.... these vary the input level into the modelling and are unique to your guitar and your playing style. There is an optimum input level into the modelling stage most obvious on the sitar or acoustic models, so the input from the piezos are limited where everything above the limit is compressed down - the global string level controls the gain into the limiter for each piezo. Turn it down so that limiting only has an impact on when you play your very hardest and the models will come alive and the overpowering ones such as the F# resonance on the Acoustic 5 or Sitar are toned down. Then if necessary turn up the level of each patch to compensate and match the magnetic levels. Adjustments around -10db is common for users playing with 10s; often more for the low strings and less for the high ones.

The word is that they share the enclosure, but amp, drivers and dsp are tuned more for guitar amp FRFR than general PA. it is a good move by Headrush after justifiable criticism that they may have “borrowed” a design feature or two from Line 6 Helix with their floorboard.

Missing the option for going to first unread post. This one seems much more oriented to Questions rather than chat.

MIDI has 16 different channels... CC#64 on one selected channel will control tap tempo that leaves you 15 other channels :) Just change the default channel on Helix and CC#64 on channel 1 will be free for control purposes. I have connected my Motif to my Helix a few times and used it for patch control and occasionally triggering pads/effects when my hands are on the guitar.

Do you have any blank space at the front of your IR? Helix will trim it and if it trims it down to just the blank bit then you will get nothing out>

The downloads page lists Helix 2.54, but the notice on this forum didn't get updated and it doesn't look like many people noticed. Anybody tried it yet? (says a person who is stuck in Chicago a long way from his Helix until next week). H E L I X 2.54 Release Notes Bug Fixes - Pop noise can occur when exiting Tuner in four cable method setup with FX loop block engaged and audio playing upon entering and exiting Tuner -FIXED -In rare cases, Helix AES clock/audio/SPDIF can glitch and/or drop every 40-60 mins -FIXED - other bug fixes and improvements Known Issues - No CC Toggle MIDI data is sent when changing between different Snapshots that feature CC Toggle command assignments in Lit state - In rare cases, a crash can occur when creating an Input or Output in HX Edit (moving split/join to B path) while having a None block selected - In rare cases, PC messages are sent after Instant Commands on preset load, resulting in perceived delayed response by the device receiving MIDI - Shuriken Variax bank names will not appear in firmware until Helix is connected to a Mac/PC and Workbench HD is launched - In rare cases, pitch artifacts may be heard on selected delay blocks when the Time parameter is set to Note Sync values higher than 1/2 Triplet OS: Mac OS X, Mac OS Jaguar, Mac OS Panther, Mac OS Leopard, Windows 7, Mac OS Snow Leopard, Mac OS Lion, Mac OS Mountain Lion, Windows 8, Mac OS Mavericks, Mac OS Yosemite, Windows 10, Mac OS El Capitan, macOS Sierra, macOS High Sierra

Thought I would have a look in the UK, and Amazon has the Clear Mooer Candy: https://www.amazon.co.uk/Footswitch-Topper-Plastic-Bumpers-Protector/dp/B072XJ9ZWM/ref=sr_1_10?ie=UTF8&qid=1521769129 Might give it a miss at that price - $96 each!

Good idea if it works for you. I will offer my working method seeing as it worked so well for last 2 x 1hour set gig. I use an iPad and OnSong, and yes fiddling with the iPad is a right pain. OnSong is set to auto scroll on each song, but you have to start it scrolling and swap to the next song. I use a single patch for the whole gig, mainly playing an acoustic JTV model either fairly straight or chorused but sometimes a strat into amp and for 2 songs the overdrive gets a showing. We are playing Folk Rock. Snapshots are used for the 4 basic sounds and then various effects added when needed such as kinky boost for solo. What I do is connect Helix to iPad with USB and dedicate the top row switches to controlling OnSong: previous and next song, start scrolling, stop scrolling, page down. Auto scrolling is great but we vary tempo and nothing is worse than getting out of sync and not being able to see what to play next. The next bit is what really makes it work: in OnSong I set each song to send the Snapshot change midi commands. So as I press next song OnSong switches to the next song in that nights set list and it changes the Helix snapshot which in turn changes the JTV setting. Then all I need to do is press start scrolling in the count in. Then stop scrolling for the “hold on” and humorous interaction with audience. Absolute minimum control inputs required! Almost as if I had a dedicated tech doing it all for me like the pro’s have.

By effect I mean that you can hear the string volume going down. Think of it as a gain knob before a limiter (which is exactly what it is). If set too high then even light plucking will hit the limit and you don’t get any dynamics. Set too low and you don’t get close to the limit and you are too quiet. The Goldilocks point is when you hit the limiter only when playing hard, and you can only find it by going too low so you can hear it then nudge it back up a bit. Unfortunately there is no magic set of numbers as every guitar is unique wood, unique player, strings, piezoelectric pickup sensitivity and playing style so Line 6 set everything to max gain and leave you to it. There has never been any good documentation about what you can do with a variable in Workbench so us users have had to work it out. Trust me on this: string at a time lower the level until you hear it making the volume lower then push it back just a little and you will get dynamics. The most obvious model to hear an effect is the Sitar, I have never seen let alone played one, but I bet it doesn’t resonate to the slightest brush of the strings... The acoustic models become much more responsive too.

The reset process doesn’t work after 2.0 firmware. You need to use the firmware update process to overwrite what is on the guitar. Then I strongly suggest tuning the global string levels: in Workbench HD it is a menu option - reduce the level for each string until you can hear it having an effect when you pluck as hard as you would playing, then raise it slightly. 10db is quite common for the wound strings, but it will eliminate much of the built in compressor effect and the modelling will sound much more natural.

I would very much doubt it. The obvious first problem is all of the routing required to fit the trem in and potentially shift the existing electronics out of the way. Less obvious perhaps is that the main CPU board is tuned for the type of guitar so you would need to change that too. Even if you can get all of the hardware and know someone who can do the routing and fitting without serious damage to the guitar, I cannot see how it would be cheaper than doing an exchange for a 89F.

That is bad news. Unfortunately this is a User Forum (despite it being found in the Support area of the site) and Line 6 do not regularly respond here. For a new purchase that has functional problems you should raise a support ticket and if that gets you nowhere then you may need to return it. https://line6.com/support/tickets/

Is it a raised fret? The piezo pickups are much more sensitive to fret buzz than magnetic pickups are. Yes in Workbench you can make any changes you want (in the currently loaded model buffer) - Workbench will allow you to have any number of edited models in the current editing session and you can switch between them. To make them permanent you have to upload them to Variax, and you can restore the original version by downloading from Variax again (when it opens workbench downloads all of the current presets).

I haven't tried this myself, but with the HD500 if you changed the mode of the L2t and then saved the patch it would remember it and resend it when that patch was selected again, this allowed the electric mode for an electric patch and acoustic for an acoustic patch. I would like to think that Helix could do the same, but I really haven't checked. If it doesn't then you should raise an idea scale for it.

Update I was wrong and it is a rubbish idea. The problem is that even the low strings have higher harmonics and they go through the double delay and interfere with the octave delay and it sounds unnatural or to be honest simply awful. Sometimes a good chorus does a much better job. Or my JTV of course.

The best thing I can think of trying is a frequency split at Bb using the split block (just below the B string), then on the high path adding a few ms delay with few cents detune to simulate the doubled upper strings, and on the low frequency path adding a similar few ms delay with an octave up plus few cents detune to simulate the octave strings, then merge them back. I haven't tried it (work), but it should allow open chords to be reasonably correct - things will be less realistic if you use bar chords. If you want to capo then snapshots will allow the freq split point to be changed. I'll have to give it a go when I get home - it does depend on how sharp the frequency split fall off is, but I think I heard that it is a very steep slope.

If the Boss RC-30 is good enough for Ed Sheeran ($150) then it seems like a very expensive way to go to get more advanced looping functions. If the RC-30 isn't enough then there is also the RC-300, and both are much cheaper than the EH mentioned above.

On this subject - if you have an effect that you absolutely must use and the impedance is critical to that effect working properly, and you must have wireless then the only solution is to put that effect between the guitar and the transmitter. Brian May uses these: http://www.deacyamp.com/index.php?route=product/product&product_id=72 http://www.deacyamp.com/index.php?route=information/information&information_id=22