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Everything posted by Hillman1312

  1. I don't have the best answer for you and agree with what has already been said before (i.e..... it depends), but it seems you also have a communication/co-operation issue going on in your band. Solving that problem with buying gear might not be the way forward ...
  2. Hello forum, While my Helix LT is in repair (expression pedal) I started to use Helix Native to keep ... well hobbying. I must say I'm very impressed. I have this software rnning on a Macbook pro from mid 2009 (!) and from within Ableton I can run with a very acceptable and for my ears inaudible latency of less than 5 ms (using a USB 1.1 Saffire 6 soundcard). Really amazing....but obviously I will not run any further plugings as the computer has a hard time keeping up :-) But anyway, while experimenting I thought about making Ableton change blocks/snaphsots/presets. Unfortunately I cannot get it to work. I have an audio channel with only the Helix Native pluging and next to that a midi channel that sends (or well, i supposed to send) MIDI to the Helix channel. For whatever reason the Helix native software does not "see" any midi coming in. I've setup a block to respond to CC4. I must be overlooking something very simple, but I cannot figure out what goes wrong..... any suggestions? Thanks to anyone who can help me out... Google has not been my friend until now ;-)
  3. Thank you all for the suggestions. I'll experiment with the different suggestions. One observation I recently made is that to my ears there is quite a noticeable and clear transition where the FM effect kicks in. Indeed as mentioned the volume where that happens is high, but not so high that it is not bearable for at least a short amount of time. I'm making notes indeed of what I'm doing indeed.
  4. Dear forum, I've always felt the expression pedal on my LT a bit stiff, but didn't want to loosen the screw too much as that would result in the pedal moving to "wobbly" (sorry, hope you understand what I mean). Lately I noticed that the expression % (for whatever model) tends to move rather quickly even though physical pedal position didn't move that much at all. I also notice some difference in the resistance depending on the pedal position. So today I had a closer look and noted that the adjustment screw that you can see on the side of the pedal actually does not stay concentrical with the hole which it is positioned. Probably there's something wrong with the internal mechanics of the pedal, but I don't want to open the device just yet (I need to check if I'm still under guarantee). Anyway, my question is whether this is a typical problem for the LT and it is seen more often; also wondering if there's an easy fix for it? I love the device, but as I do need to pedal from time to time I want it to be reliable and reasonably accurate.... I don't want things to get even worse. I'm attaching some pictures to show the " offset" of the adjustment screw depending on the pedal position. Maybe not very clear, but hopefully of some help to whomever reads this post. Thanks again !! Here the screw is a bit more to the right compared to the position in the picture below
  5. I have read several times in this forum that it is preferred to dial in presets intended for live use at "gig level" rather than "bedroom levels". I understood in the meantime this has to do with the Fletcher Munson effect, which actually I have experienced myself let's say "the hard way". So I get the basic concept, but this actually brings another question to mind as to what "gig level" actually means. For obvious reasons I cannot crank up my powered speaker (Alto TS 308) at levels that I would use live. It would be very painful and cause further damage to my ears and I'm pretty sure my family and neighbours will not have much appreciation for it either :-) Any thoughts? How do you approach this? Thanks and Merry Christmas !
  6. Funny how the initial post resulted in a discussion on MP3, CD and vinyl. Anyway, to the OP: Just buy what you can afford and gives you the tones and controls you need. The Helix is insanely versatile and can give you an enormous amount of different tones. For me, apart from the tone, the interface, control and connectivity are equally or maybe even more important. You can create a usable tone quickly and adding effects wherever you want them in the signal chain is extremely easy. This is also a downside I have noted because making a decent starting tone sound awful is a risk that comes with the versatility of this device. As the Germans would say "Ubung macht den Meister", i.e. you need to put some practice into creating the tones and experiment. Yes, you may want to wait for the next generation Helix, but nobody knows when that will come... and even once it is there it doesn't mean the Helix we know today will become obsolete straightaway. I still have a Pocket Pod that I use every now and then. No super tones, but for practising or even recording some ideas it will do the job. There's many people still using the POD(X) HD series. They still work and will continue to work.... until they break ;-) In my case I worry more about my playing than about my Helix (LT). But, if it would break, got lost or stolen, I would buy it again immediately and not settle with my pocket pod waiting for "the next generation". Just my 2 cts.....
  7. The cause of the strange behaviour is still unclear to me. But, I did not further investigate to get closer to figuring out what's going on. I have some ideas on how to get closer, but I prefer to spend my time playing the instrument ;-) To avoid any issues I don't try out any customtone presets anymore and make all presets I need from scratch myself and in the same setlist (which is a very educational I must say). Thus, I try to avoid as much as possible copying from one setlist to another. Admitting this is not ideal and does give me some "limitations" it works and I didn't have issues ever since I started working like that. Even though I play in a coverband I only have a handful of song-specific presets. Most songs can be done with a few generic presets (with different snapshots or stomps), so that accordingly I have more than plenty of room in a single setlist to be able to play whatever I need to play. Indeed this means that songs may sometimes sound a bit less authentic, but I don't care as long as it sounds good and the actual played notes do resemble the notes of the covered song.
  8. I use the Alto TS 308 for dialing in tones at home and as a monitor or speaker/amp during rehearsal and the occasional gig. Works good enough for me and has plenty of headroom. As was suggested in this thread, if you use the speaker as a monitor you can get some bass coupling, which you may find gives you that "boomy" sound. But, put it on a monitor or speaker stand and it works great. Indeed the vertical position is preferred as it gives you a slightly better idea of the sound. When used as a monitor the sound you hear seems to be a bit more dependent on your position as a player. As far as the difference between the Alto and the HR, there is a Youtube video where someone compares the two. In all honesty I could not hear a major difference between the two (if at all). Might be my ears though ..... Now, the 12" version may (I have never tried....) move a bit more air compared to the 8" which may give you a more amp feeling when playing. I don't think however that sonically there will be a major difference. In that respect I owned a Behringer KXD 12 for some time and that speaker really looked like an amp and actually also gave a bit that "amp in the room" feeling. In the end, portability made me buy the Alto. It is easy to handle, very light and seems very well built. Just try them all out and see what fits you best ...
  9. Using an Alto TS308, which is pretty much similar if not identical as the 8" Headrush. Plenty of volume and a nice form factor (small, light !). Placement is an issue; I 've tried several positions at home and find it works best in vertical position at +/- ears height. As a monitor you get a loss of bass coupling. Of course that can be corrected with the Global EQ if desired, but I'd rather just "plug and play". Also take into account you need some distance to get the best idea of what the sound is like. If you're too close it may sound harsh compared to when you are further away. I think this goes for all PA speakers. On the "FRFR"; that's just a word invented by Headrush. Nothing wrong with that, but it shouldn't be confused with an indication of quality or sound. No speaker will sound "flat" over the "full range". Just try several and you will find the one that works best (depending on how much money you have to spend of course). I'm very happy with the Alto although dialing in a preset remains tough because I can only assume that what comes out of the Alto will sound more or less the same as on other PA speakers. And that's the issue here .... no PA speaker is the same, so a preset dialed in on one speaker will sound slightly different on another.... and it may even sound different when listened to at different volumes and at different angles vs the speaker...... Too many variables to worry about actually. I just prefer to play :-)
  10. Any update from Line6 on this. I had a more or less similar issue yesterday but the situation was a bit different. - I imported a setlist (exported under FW 2.82 as a backup) to replace the USER 3 default list - I tried to copy a preset from the imported list to an existing setlist (presets had the same name, fwiw) - Error message in HX Edit and Helix freezing. Tried a couple of times, always the same issue. Then, used the "rebuild" option when starting up (10+11 upon Power On) tried again... no luck Next I first copied the preset to another position in the same setlist --> no problem Then I copied that copied preset to another setlist --> no problem Totally unclear what's going on, but there's something very wrong in the software (whether HX edit or Helix, don't know) when it comes to copying presets. And I would not have expected this to happen with presets that were built with the same firmware ... turns out it does.
  11. Seems the same issue indeed. Please let us know if you get any response. Did it also start with copying of a preset from one setlist to another? thx
  12. Hello, I'm (sometimes) running into issues when copying presets from one setlist to another. It is unclear what triggers this ... I'll try to reproduce what happened couple of minutes ago: - I created a tone in a "sketch" setlist - Once I was happy with the tome I tried to copy it to another setlist - The preset would not not copy, I got an error message (not fully sure anymore what it said) and then the Helix freezes. Tried it a couple of times with the same result. - When I switch the Helix off and on again the device works fine, but now I see some presets with no name or only a few letters. See the attached screenshot. - Helix and HX edit are both 2.82. I have had the exact same issue last week; I then did a reset (holding FS 8 + 9 when starting up the Helix) after which it seemed to work fine ..... until earlier this evening . Anyone has seen the same? What could be the cause? What else can/ do I need to do to get rid of this very annoying problem? Thanks !! Helix.tiff
  13. Thanks, Indeed, I was using XLR out with " mic" signal. The band just before us used a mic'd cab, so what I did is use the XLR cable connected to that mic and connect that to the ART (via my own XLR cable). I asked the soundguy if he had compression/ limiter/ EQ going on a the desk but that was not the case (so he said). The way I understood it (but I did not hear it) is that the sound was distorted/muffled (lacking any better way of describing it). But strangely it went away after taking out the ART from the signal chain. Really weird .... I'll test my setup again later this week at rehearsal to double check that the patch cable I used (from the helix to the ART) is not broken. ... to be continued I guess..
  14. Dear Forum, This is slightly off topic, but as I hope you don't mind me asking it here. Today I had a gig and as I always do during rehearsal and previous gig I run the XLR out of my helix into an ART DTI isolator/transformer just as a precaution in case the sound-guy would turn on phantom power. I really never had any issues with that until today as during the (2 minute) soundcheck the sound-guy did not get a good signal and apparently the sound out of FOH was awful. Initially I thought perhaps the output was way too high so in the Global EQ I lowered the overall output. This didn't seem to work. Then, I took out the ART (i.e. connected directly to the stagebox or whatever that is called) after which things worked like a charm. My understanding is that the ART does nothing more than isolate the signal coming out of the Helix from the signal going into the mixing desk. The transformer in the ART is a 1:1 so no gain/ attenuation going on. I'm a bit puzzled as to what may be the reason for the strange behaviour. Any thoughts ??? Thanks
  15. I've been struggling a lot during my initial months with the Helix ending up with a lot of tones that sounded ok over earphones at low volume but didn't work in live situations at high volumes. I've watched as many instructional videos I could possibly find, asked for advice here on the forum and gradually started to develop a method that works for me. Now, whether that also works for you I don't know, I guess you need to figure that out yourself :-) Anyway, my current method is (roughly) as follows: I start with selecting an amp + cab block on path 1 simply to get a basic idea on how Line 6 set up their models and amp/cab combinations. Next I change the amp+cab block to an amp block and on path 2 create 2 instances of the cab that came with the original model. The cabs are put in parallel and one of them will be mic'd with a 57 or 421 (at 1 or 2") while the other will be mic'd with a 121 or 160 ribbon mic (at 3 - 5 "). The split will be an A/B split so I can adjust the level going through each path. The ribbon mic paths will have a relatively high early reflections level and very often I add a room reverb in the path with the ribbon mic as well with a fairly high mix (35-45%). Depending on the amp and/or cab I sometimes add a shelve EQ in the path with the 57 or 421 and cut around 2-3 dB above 2 kHz. Typical high cuts are around 5-7 for the dynamic mics and around 8 for the ribbon mics. I prefer to use high and low cuts on the cabs, usually the low cut on the ribbon mics will be a bit higher than on the dynamic mics (dynamic ~80, ribbon ~100-120). Following this I tend to use the "Sadites" type of mastering section consisting of a parametric EQ and a studio comp (with level and gain around 5) at the very end of the chain. The EQ is very often not used I need to admit. Starting from this I start playing and adjust the amp settings to my needs. I find that very often the stock settings give you a very decent tone. More than often I dial back the presence to avoid any "ice picking" sounds when played at high volume. Only after that I add effects. I only use the basic ones most of the time, i.e. boost/overdrive, delay reverb and chorus. The delay and reverb go in after the cabs, the chorus very often after the amp (not sure why I do it like that). Having said all of this, there is no "one size fits all" approach and many of my presets have some variations, like e.g. an additional tilt EQ position just after the cabs are combined. Oh and by the way ... I generally program in mono (just a personal choice) Very important is to test you presets also on higher volumes and/or different speakers. Nowadays I use an Alto TS308 at home to develop the presets. This is a rather bright speaker, but I find it to work pretty well (and I believe it is nearly identical to the Headrush FRFR 8" version). The PA in our rehearsal room is much "darker" but the guitar sound still cuts through sufficiently. Hope this gives the basic idea of what I do. Ask me in another year or so and I may do it totally different..... still learning every day, and I find myself playing with the device more than playing the actual instrument from time to time :-)
  16. Probably easier to send the XLR to the FOH and use the 1/4" to your onstage monitor amp (or FRFR). This allows you to have a constant signal to FOH while you can control the volume of your monitor with the volume knob of the Helix. This is how I use it and works great.
  17. For what its worth ... I use an Alto TS308, which is said to be (pretty much) identical to the Headrush. For home practice, or just for fun, it sounds fine to me. I take the speaker Also to band rehearsal and then crank it up. So, there's no real comparison to be made with studio monitors but the Headrus (or Alto) will give you a bit more flexibility in terms of use. Just my 2 cents .....
  18. I personally don't see the need for a separate headphone amp for the intended purpose. The LT can be set such that the main volume control doesn't affect the XLR or 1/4" outputs. And, the OP does not talk about singing :-) so a mic is probably also not needed. At the same time the LT has all the power and flexibility of its bigger brother whereas the stomp is much more limited in DSP and number of blocks. Thus, the LT would be my logical choice in this case (assuming space isn't an issue).
  19. I built a clean preset on the Archetype model and it has become my favorite clean sound. Some chorus after the amp and delay if needed. To get that sustain you will want to use a compressor. The LA studio comp will work but you could also try the others like the red squeeze (I like that one as well). The Placater clean also makes a nice clean tone, which sounds very good (to my ears at least) when you are just about to hit that breakup point. Good luck !
  20. Thanks for the advice. I just exported my setlists (for backup purpose) and noted that I got error messages for the "ToneLab" setlist. That was probably what has been causing the issues. Did the reset and then imported my presets again. It took quite long for the Helix to rebuild all presets but so far so good...... I think this solved the problem.
  21. Hello Forum, Ever since I updated to 2.81 I'm seeing some strange behaviour in HX Edit. I'll try to explain, but as it doesn't seem to happen all the time I could not yet pinpoint the real problem. What I did was the following: I have a setlist which I call "ToneLab", which is basically sort of a sketch book for making presets. Once I'm happy with a new preset I save it (CTRl + S). Next I select the preset and click " copy". Then, I go to my "Live" setlist which contains all the presets I use live and "paste" the preset wherever I like in the list. Now, ever since I updated I note that this copy method doesn't always work. Sometimes only one path gets copied (in HX edit at least). Sometimes nothing gets copied at all (except for the name). Sometimes the signal path of the new preset is replaced by the signal chain of a neighbouring preset. And today, the preset copy seemed to go ok, but when I wanted to select the amp it showed the settings for the chorus, when I selected the chorus it showed the settings for the compressor, etc. Really very weird, almost as if HX Edit had no clue what the actual unit was doing. Now, when I re-started HX Edit the problem seemed to go away (not tested for all the instances above, only the last one). Long story short, something goes wrong when I copy presets from one setlist to another in HX Edit. My question to the community here is if I'm the only one having this problem or if this is a known issue? Thanks !!!
  22. Why not use the built in pitch block as first block in the chain. I find it works quite wel for Eb and D tunings. Saves you extra hassle with pedals, power, cables etc.
  23. The added gain block is just a workaround for me; I prefer to set the gain using the volume control on the amp. Once Line 6 fixes the issue I can simply delete the gain block again freeing an additional space (not that I really need it, plenty of space ....)
  24. At least on my LT the problem seems to go away if I add a gain block after the compressor. Set at 0dB it will not affect the sound or volume. May even work when bypassed, have not tested that yet.
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