bypassvalve

converters and the output stage are analog, they need pixie pressure

I don't know how gain staging works in the digital realm between digital model and digital model, or digital output and converter, but I just added a deluxe comp to the end of the chain and boosted the output level to +32.5 db, as much as I could get away with before the output dot started blinking red, and omfg it sounds so powerful and rich, like amp CAJONES (after cab it looks like stereo deluxe comp into stereo parametric into stereo dual delay, nothing is clipping out, just got full and fury and FAT) don't know if that's driving the converters, or if the headphone amp is more efficient when it's not having to be cranked up high, or if there is input and output circuitry of the blocks after the comp that are modeled to add their own harmonics or what, all I can say is to the extent the output isn't clipping, TURN THAT SHEET UP mic scout.hlx

HX stomp 3.00, preset 068 with industrial fuzz, deluxe phaser, searching set up. Clear all blocks, footswitches are still there for blocks that don't exist...

vintage and raw modes of Cali Rectifier, Tremoverb, Marshall Super Bass, micro delay, small clone, mic axis, gate sidechain, JHS PG-14 (yeah right)

I really hope at some point L6 is able to work micro timing into the first 50ms or so of the simple delay (maybe all of them). The 0.3 ms is the best natural sweet spot available with 10ths, having access to the 100ths split of maybe the first 20 - 50 ms would really let sound designers go wild with roll-your-own effects and acoustic space without having to plug in the Zoia

i need rectifier + mark IV + lonestar clean + lonestar lead all parallel into one Cali 4x12 but each on their own footswitch, on and off. u can get two at once on stomp, figured u could get 4 on the big one

Can you run 4 amps at once?

legacy plate reverb is i think the old cavernous reverb from XT Pro, i'm not a reverb connoisseur but it feels like same to me, you can get super super wet but it never washes out, you can hear all the notes of everything clearly. i wish the spring reverbs were wetter/longer. a mesa roadster stock spring tank on channel 2 fat is like a muffin cathedral, sounds like the UAD AKG tank plugin...why don't all spring reverbs get that wet? Most of them are basically floppy dirty slapback nevermind, just turned off the filters of legacy springs and they do the syrup just fine

in native you can run as many instances of whatever you want, just have to turn off hardware compatibility in settings

I like to put a simple delay on B path, feedback off, 0.3ms, bring mix up from 0 until it gets phasey, then bring it back down to taste ~30 ish. I like reflections but not from the room, I like the reflections I'm used to getting bounced off my face when I'm in front of the cab irl. I wish the cab reflections had a space slider to move the virtual mic closer up toward the 'source', just like drums, a huge big chunk of the recorded tone of guitar sounds is the room resonance its in, IRs don't do a lot in the way of getting that phase swirling interaction unless you roll your own space

If you can drive a DAW and plugins, start with Redwirez MixIR3 and the big box. You get the entirety of the big box, which is enough on its own, but any IRs you get later, you can run through Mix IR3 to trim/EQ/mix/blend, and then you can print your own new IR from that mix, either LR stereo, or mono, at custom IR length from 2000 ms to 0 ms. There's infinite shades of tonal variation when you get to mixing and trimming and EQing IRs, a pack of 20 only lets you work with the mic positions the product owner used, plus you never own the IR, you're just licensed to use it. With MixIR3 you can tweak it just how you like it, then print your own IRs to suit your needs.

My source is having input Z on auto, with a drive block in front of the amp in bypass, playing, then deleting the drive, and gaining some top end after removing the bypassed drive block

L6 modeled bypass characteristics of the pedals... regardless of input Z setting, if a pedal is in the chain, it has inherent bypass characteristics that will effect subsequent blocks, just like the real device would. Some are subtle, some have a lot of color, it's mix and match till you find what you need. Or route them all on parallel paths and snapshot a mixer dot to roll your own switcher.

It's stronger than knob wood

The main built in gate lives in a dot, its triggered to open by the input. Let me slide that dot in between any block, without using up a block, but still trigger the gate to open from the guitar input. That puts the valve after the noise makers, and it leaves nothing between guitar and amp, the gate ramp doesn't affect the guitar transient as it opens or closes. You can also put the gate after reverbs and delays, to where even if there is a bunch of oscillating feedback lunacy going on, when you stop giving it guitar DI, it closes, until you feed it again. Selectable sidechain source for the periphery goons who still want to use a gate as a transient shaper, where the gate is triggered to open by whatever is next to it. Just a thought https://line6.ideascale.com/a/dtd/Noise-gate-sidechain/988209-23508

the pedal might be true bypass but that refers to its bypass state, sometimes they have buffers in the pedal as part of the processing chain even if its bypass state is true bypass, it's mix and match till you find pedal combos that work since all pedals don't have switchable buffers. all pedals should have switchable buffers huh. does the HX stomp have a switchable buffer?

wtf HOW??

i'm in love with your HX stomp

If the pedal has a buffer you can't get around that, run guitar into helix and run the pedal in the loop

Yo I can't get over this HX stomp, with a arbitrator fuzz 1st in the chain, with input set on auto it's fuzzy and spitty like it's supposed to be. If you put it on 1M, you can hear it get a lot more high end through, but because it's a fuzz it stops fuzzing the same, just like a fuzz does if it has a buffer before it, I swear there's a switchable buffer in there, where auto knows to turn it off and 1M keeps it on. I haven't been this thoroughly satisfied with piece of gear since the OP-1, cheers to the L6 team, this little thing is so much fun

Sure, just linear filtering, but being that they put the work in to measure mic and distance combinations for each cab, each combination reflects real world results, quickly. Maybe George Massenburg could do that with a parametric, I sure af can't. George M would go move the mic to a better spot. I love the old OH vector libraries for that, moving the mic bit by bit so you can go through and find the spot you're looking for. Not really such thing as a good sound, but when you're looking for the right sound, all the little in-betweens is where the right sound resides. I'd also bet that there's quite a few IRs in play with the virtual cabs, Mikko said he used thousands to build his plugin, it sounds way too natural and works way too predictably to be just EQ adjustment as a cheap simulation.

*not directed at op

I didn't mess with the IR, no point fighting it. An IR is one fixed mic position from whenever they shot the IR, you're stuck with that image. With the virtual cab you can adjust mic position/type, that's natural EQ, the only EQ you should really need to do. If you get the mic position right, you don't need EQ at all. All EQ is is bandwidth concentrated phase shift, if you get the mic position right it's perfectly EQed and 100% in phase, lows are clear, highs are clear, mids are scooped and clear. With an IR, all you can do is filter off the top and bottom and add/cut EQ, but you're stuck with the one mic position from whoever shot the IR. If the mic position wasn't right, you're just doing surgery on a turd. I'm head over heels in love with the L6 cab, with just a couple inches mic movement, there are zero throw away sounds, no matter what drooling toddler dialed in the amp, you can tune it to perfection in just a few inches of mic movement.

Hi everybody, here are a few ideas: EHX Small Clone Chorus: https://line6.ideascale.com/a/dtd/Small-Clone-Chorus/987311-23508 The rest of the modes of the Rectifier...Green Clean/Pushed, Orange Vintage, Red Raw: https://line6.ideascale.com/a/dtd/Mesa-Dual-Rectifier-Green-clean-and-pushed/987290-23508 https://line6.ideascale.com/a/dtd/Mesa-Dual-Rectifier-Orange-Vintage-Mode/987288-23508 https://line6.ideascale.com/a/dtd/Mesa-Dual-Rectifier-Raw-Mode/987289-23508 Tremoverb: https://line6.ideascale.com/a/dtd/Mesa-Tremoverb/987296-23508 Swap Power amps: https://line6.ideascale.com/a/dtd/Swap-power-amps/987295-23508 Swap distortion pedal diodes: https://line6.ideascale.com/a/dtd/Drive-block-clipping-diodes-swap/987291-23508 Noise gate sidechain: https://line6.ideascale.com/a/dtd/Noise-gate-sidechain/988209-23508 (Gate is placed after the amp but is triggered to open remotely by the clean guitar DI) Heavy octave effect: https://line6.ideascale.com/a/dtd/Heavy-octave-effect/988214-23508 (Does an octave down, but monophonic, works with chords, doesn't do an octave down with notes higher than a D4)

yes yes! parametric EQ that allows each band to work anywhere from 20 to 20k