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Presonid

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Presonid last won the day on May 20 2016

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  1. Thank you Roberto Pablo, it seems that Simple Delay (with tap tempo syncro) is the cause for this bug. In my case, the workaround was to remove it, save the preset and then insert again the Simple Delay. Gracias amigo
  2. Presonid

    Helix Amp Model Gallery - Real Controls vs Invented

    Firmware 2.8 (July 2019): 8 new amps, 7effects and new features --Tweed Deluxe 5c3 1958 (Normal, Bright, Jumped) Fullerton Tweed amplifiers, known for their warm-sounding overdrive, typically break up earlier than later "cleaner" models. The main characteristic of these amps is great overdrive and compression. They can have really nice cleans too bu much of the desire for this is the dynamic and harmonically rich overdrive. Rich and sweet clean tones at low volume, toothsome overdrive at decibels, the tweed Deluxe is the original “ideal studio and club amp” · This is an all original 12 watt tweed "wide-panel" cabinet tube combo legend. The solid pine cabinet measures . One twelve-inch Jensen Alnico , two instrument inputs and one microphone input, one volume knob, one tone knob, tweed covering, dark brown mohair grill cloth. The Tweed Deluxe originally came equipped with a Jensen P12R speaker. Due to limited power handling, owners sometimes replaced it with the more powerful Jensen P12Q. Compared with Fender Deluxe Reverb, is a totally different amp, this is more looser, primitive, midrangy , dynamics are controlled more at the guitar, the harmonics bloom. The Deluxe Reverb (Blackface), is tighter, brighter, punchier, more articulate and is more pedal friendly. Relative terms, obviously you can pretty much anything with either amp. Given the early distortion and mellow clean sound we find the Tweed Deluxe is great for single coil guitars, especially the bright bridge pickup of the Strat and Tele. Learn how to create music with a natural and transparent guitar tone. But the amp is really not as simple. The two interactive volume channels (we suppose not modeled) and the mysterious, non-linear tone control provides a big spectrum of tones, everything from Fender clean to Marshall grit. Even more confusing is the tone control. You’d might expect a treble or mid control. Nope, the tone control affects volume, gain, EQ/tone, everything. It’s a low output amp. Its 6V6 tubes generate 12 to 15 watts. This means that it starts to distort early. This attributed to its popularity, and is why players such as Neil Young and Billy Gibbons use it. When you really crank the volume, the distortion gets crazy and uncontrollable, and sounds like a fuzz. Try also to Crank the tone control almost all the way up (that's the key). About the circuit numbers: in general the first number indicates the decennium (5 is ‘50s). The letter indicates the circuit revision (C), and the last number indicates the amp model (3 = Deluxe). The earlier 5C3 Deluxe model use negative feedback.. Input is self biased rather than cathode biased (D and E). The grid leak bias input of the 5C3 makes overload easier (like blocking distortion, so you SHOULD NOT use hig gain pedals since you will overload the input). Subsequent versions of the Deluxe is the "wide panel" cabinet design . The early tweeds are described as darker sounding than later models. 5C3 circuit was produced between 1948 and 1952 2 x 6V6GT, 12 W, has slightly more bass, phase inverter and little negative feedback making the amp a bit tamer sounding.. Amps are know a paraphrase phase inverter that is less hi-fi and imparts a certain grittiness to the amp. They don’t have much headroom but the overdrive is divine (fat, crunchy). D and E circuit has cathode bias for the first stage, it is cleaner and with more headroom and total gain (not a lot of cleans but they are angelic). --Grammatico Amps LaGrange tube guitar amplifier 2016 (Normal, Bright, Jumped) The LaGrange is Austin (Texas)-based Grammatico Amps' best selling model. And there are many reasons why you so rarely find them. Based on a vintage Tweed Deluxe 5E3 and designed to capture the tones of early ZZ Top, Neil Young, Keith Richards, Tom Petty, George Thorogood, Kenny Burrell, T-Bone Walker, and many other classic rock tones when plugged straight into the amp. It accepts either single coils or humbuckers equally well. The tone is very woody, warm, round, and fat with throaty mids and sweet rounded highs with just enough zing to make it exciting and cutting. It's very organic, transparent, three dimensional with lots of bloom and harmonic richness. Jensen "Special Design" loudspeaker. POWER OUTPUT:15 Watts POWER TUBES:2 Tung-sol 6V6 . PRE-AMP TUBES:2 Electro Harmonix 12AX7 and 1 RECTIFIER TUBE:5Y3. CONTROLS:Volume Normal, Volume Bright, Tone Knob. SPEAKERS:Jensen P12Q 12" Alnico With low vol, offers sweet pop and articulation –its tube tone simply blooms (woody, warm, fat mids). Turn the volume up to midpoint, distorsion starts kicking in. A slight turn to the right and the overdrives gets grungy. With Humbuckers pickups is a wonderful dirt tone. The Normal channel was a bit subdued, but ditto the vintage Deluxe 5E3. Bright side, the tone rings. Dial it in to be raw and biting, or get just an edge of grid while retaining rich harmonics. It keeps the articulation of a single note or a full power chord even when fully saturated. Glorious amp for classic country, rackabilliy, rock and roll, and blues of all flavors. You can leeve your FuzzTone at home, Clean of cranked is simply great fun to play. Fender's The Edge Deluxe amp is a Deluxe re-issue from 5E3. --REVV Generator 120 (Gain 2 - Red channel Only ) Clean, Crunch and Gain1(Purple) (not yet) Revv Gen Red Revv’s Trademark Gain – Totally unique, tight & full, dozens of voicing options 4 Channels: Clean, Crunch and two switchable, variable Gain channels ( 10 or 120 watts) Tube arrangement: 5 – 12AX7 , 1 – 12AT7, 4 – 6L6GC Presence and depth control Bright switch on clean/crunch and both overdrive channels, Fat switch on both overdrive channels Contour switches to allow selection of a brighter distortion or a deeper/scooped type of distortion by shifting mid range frequencies for tons of tone variety. 3 channel (not modeled yet) or Purple channel is drier, tighter, & clearer than Red Channel 4 (red), with less gain on tap. As a result - most people use the fatter & more saturated Red Channel 4 (red) for lead & Purple Channel 3 for rhythm, but please experiment to your own tastes, especially if you like a thick chunky rhythm distortion tone or a drier lead tone. This is a 4 channel amp with 2 high gain channels so you can get the exact tones in your head without compromise -however you choose to set it up. Aggression (modeled): least saturation (green - 0), tight saturation (blue - 1) & highest/fattest saturation (red - 2). These aggression levels are highly interactive with the gain knob & can result in everything from broken up rock tones to metal rhythm tones & lead tones. The amplifier has a midrange focus & to modify this you can either slightly dial back the mid control or switch between the two Contour options for a bright upper-mid focused sound (on) or a thick lower-mid focused sound (off). Bright & Fat extend the highs & lows respectively. I find it is best to engage these if you prefer the overall tone either or both provide & then set the treble & bass knobs to taste, accounting for the voicing switch positions. Fat is also a useful tool when switching to a single-coil equipped guitar. Presence & Depth (modeled) The Presence control from the off position to the 2 o’clock position will give you a subtle increase in treble, & everything past that point will then provide a greater increase for a sharper cut. The Depth control is a bass control & will add some incredible low end to the output. Using the control sparingly is recommended to keep the bass response tight, as higher settings will give you a looser low end. Note: Lowering the bass control on the three channels & increasing the depth control is also another means of experimenting with the Generator’s voicing. Note: Both of these are controls of the power amp section of the amplifier & are global controls which affect all channels. Because they work well with the EQ of each channel, experimentation will provide a precise tone suited to your needs. --Ampeg SVT-4PRO (1200 w )híbrido Preamp 3x12ax7, mosfet poser amplifier, punchy, warm and precise. great flexibility in the settings (Freq 1,2,3,4,5) (Bright) (Master) 9 band eq, bright, compresor, frequency Effects: -Shelf EQ -TILT EQ! Line 6 Original. Tilt is a subtle 6dB EQ that boosts high frequencies while simultaneously attenuating low frequencies (or vice versa). Great for quickly making tones a bit brighter or darker. The Center Freq parameter sets the frequency around which the boost and cut pivot (by default 1khz, but try also as 500 hz as starting point). - Hermida Zendrive Distortion > Dhyana Drive (Mono, Stereo), based on* the Hermida Zendrive 269 € (Vol, Gain, Tone, Voice (Max to More HiEnd)) Very dynamic (touch sensitive) Classic Dumble style pedal that still delivers. Recommended for smooth sustain and harmonic rich drive tones warm creamy overdrive sound. Darker and heavy (denso) than a tubescreamer, can be used also with other overdrives pedal. - Analogramm King Of Tone Distortion > Heir Apparent (Mono, Stereo), based on* the Analogman Prince of Tone (basically half a King of Tone) . King of Tone is two channels, this is one channel. (Vol, Drive, Tone) and OD, Boost, Dist mode. Preserving the tone of the guitar and adding the right amount of overdrive without compromise. Extreme dynamic cruch. Based on Marshall blues breaker pedal. Perfect for blues stuff. Left side of the real thing (King of Tone) is (Cliping OD Gain Mod Normal, Presence: 0.9) Presence doesn't exist in the real thing (keep it down). It can also be Boost or Dist Right side of the real thing (King of tone) is (Cliping Dist Gain Higher, Presence: 0) The modes are: 1) Normal Overdrive mode (OD mode): This is the standard King Of Tone sound, which Jim likes best- a little less drive available than a tube screamer. Factory DIP switch setting has this mode on the right (red) side. This mode can get about 4 times louder than a tube screamer if desired. 2) CLEAN or Boost mode : This mode has less distortion, it can be used for clean boosts or clearer, louder sounds. It's sort of a cross between a true clean boost and an overdrive. CLEAN MODE is even less compressed than the standard OD mode. The factory DIP switch setting uses this mode on the left (yellow) channel. This mode can get twice as loud as the OD mode. 3) DISTORTION mode : This mode has more drive than the standard mode- a touch of hard distortion. The sound is more compressed, yet retains the pedal’s character. This mode can get almost twice as loud as a tube screamer. Distortion mode is not on either side with the factory DIP switch setting. At low DRIVE settings, or when playing softly, there is not much difference between the three modes, they all can get pretty clean. The ability to clean up when playing softly is a very useful feature of this pedal. The Drive knob should not really be set at less than 12:00, it gets a little flat and dull sounding. Distortion > Tone Sovereign (Mono, Stereo), based on* the Analogman King of Tone V4 (basically two Prince of Tones in one) . This is the two channels stacked (set presence two cero to simulate the real thing). It's got a really warm and milky sort of sound to it, perfect for both lead and rhythm guitar parts. Rare to find, rare components - SansAmp Bass drive DI v1 Distortion > ZeroAmp Bass DI (Mono, Stereo), based on* the Tech 21® SansAmp Bass Driver DI V1 (240 €) -Scrambler bass overdrive Distortion > Ampeg Scrambler (Mono, Stereo), based on* the Ampeg® Scrambler Bass Overdrive (77 €) can give you a little bit of grit, or a full on distortion -Moogerfooger Filter MuRF Filter > Asheville Pattrn (Mono, Stereo), based on* the Moog® Moogerfooger® MF-105M MIDI MuRF Filter (with both MuRF and Bass MuRF voicings) SOME TYPICAL SETUPS UPWARD STAIRCASE WITH RHYTHMIC VARIATION Here is a variation on the basic setting: Mix (max); LFO:On; Freq:Bass ; Envelope 2 Patern: 2 Rate: 6 filters 1º max, 2º min , 3º 1/3, 4ºmax , 5º med , 6º min , 7º med , 8º max that shows off the ability of the MuRF to create rhythmic variations within the patterns. This is really nice with sustained chords or slowly arpeggiated playing. SWIRLING CASCADES Mix (max); LFO:On; Freq:Bass ; Envelope 6 Patern: 3 Rate: 4 filters all maximo This setup shows off the long envelope times of the MuRF, creating a shimmering, slowly evolving timbral landscape for your playing. This shines on chordal playing, but also gives leads an extra something that makes them stand out. GROWING and SHRINKING TREMOLO Mix (max); LFO: Off; Freq:Bass ; Envelope 5 Patern: 10 Rate: 7 filters all maximo The Envelope control set at 5 gives a nice tremolo feel to the effect; the pattern changes gradually from one filter on to all filters on, making the timbre feel like it is growing and shrinking. New Features (Firmware 2.80) Variax String Level—Helix can now remotely adjust the level of each guitar string on a connected Variax independently. From the Input > Multi or Input > Variax block, press PAGE > three times and turn Knobs 1-6 to adjust each string’s level. Just like with any amp, cab, or effect, String Level can be quickly assigned to footswitches, expression pedals, or even Snapshots. "Wait. You mean I can assign the expression pedal to swell in the volume of strings 3, 4, 5, and 6? And I can turn down the top two strings for the verse (Snapshot 1) and bring them back in for the chorus (Snapshot 2)? And if the high E is too shrill I can back its volume down to 82%?" Yes. " PowerCab Plus remote support—Helix can now remotely adjust parameters in up to two L6 LINK-connected PowerCab Plus modeling speaker cabs. When one PowerCab Plus is connected via L6 LINK (110-ohm AES/EBU cable), it receives a mono signal from Helix; when two PowerCab Plus amps are daisy-chained via L6 LINK, the first cab in the chain receives the left signal and the second cab receives the right signal. From the Output > Multi or Output > Digital block, press PAGE > to view page 2 and turn Knob 2 (PowerCab Select) to choose which PowerCab you'd like to control (or both, for stereo). Just like with any amp, cab, or effect, PowerCab Plus parameters can be quickly assigned to footswitches, expression pedals, or even Snapshots DT25/DT50 remote support—Helix can now remotely adjust parameters for up to two L6 LINK-connected DT25 or DT50 amplifiers. When one DT25 or DT50 is connected via L6 LINK (110-ohm AES/EBU cable), it receives a mono signal from Helix; when two DT25 or DT50 amplifiers are daisy-chained via L6 LINK, the first cab in the chain receives the left signal and the second cab receives the right signal. From the Output > Multi or Output > Digital block, press PAGE > to view page 4 and turn Knob 2 (DT Select) to choose which DT amp you'd like to control (or both, for stereo). Just like with any amp, cab, or effect, DT25/DT50 parameters can be quickly assigned to footswitches, expression pedals, or even Snapshots Command Center > Hotkeys—The Command Center can now send QWERTY hotkeys (keyboard shortcuts with or without modifiers such as SHIFT, OPTION/ALT, and COMMAND) to your Mac or PC via USB. Helix can now control virtually any software ever made, including DAWs, DJ software, lighting software, media players, video software, browsers, photo editing software, video games, Powerpoint, Excel… If you can control it with your computer keyboard, you can now control it with your feet... or preset or snapshot recall. From the Command Center screen, select a footswitch and turn Knob 1 (Command) to select “Hotkey.” Turn knobs 2-5 to select the desired keystroke. If the keystroke doesn’t have modifiers, leave knobs 2, 3, and 4 set to “None”. IMPORTANT! Note that the first time you update Helix/HX to 2.80, your Mac or PC may ask what kind of keyboard you have connected. Just ignore this and close the window New Software Remote Templates for controlling DAWs, YouTube, iTunes, Spotify, and other applications via USB. Press PRESET, move the joystick left to select the Setlist column, select 8 TEMPLATES, and press the joystick. Software remote templates begin at 06B. Note that you can copy and paste all hotkeys into other presets from the Command Center page's Action panel Per-Block Snapshot Bypass—Select a block and press ACTION. Turn Knob 5 (Snapshot Bypass) to "Off" to disable snapshot control of that block's bypass state. "On" remains the default for all blocks Snapshot Toggle—The new Global Settings > Preferences > Snapshot Reselect parameter determines whether pressing the current Snapshot footswitch reloads that snapshot ("Reload", the default) or toggles between it and the previously selected snapshot ("Toggle Prev") Swap Up/Down Switches—On Helix Floor, Helix Rack/Control, Helix LT, or HX Effects, touch the Up and Down switches together for one second, and then press Knob 6 (OK) [or FS6 on HX Effects]. The up and down switches are now swapped. You may also manually set these from Global Settings > Footswitches > Swap FS1/FS7 [Swap FS1/FS4 on HX Effects] Command Center > Momentary CC Toggle/CV Toggle—An additional Type parameter has been added to Amp Control and CC Toggle messages when set to footswitches (and CV Toggles in Helix Floor and Rack/Control) Tempo Indicator—Press TAP/TUNER to enter a new tempo. The scribble strip (Performance View on Helix LT) briefly displays the entered tempo EXP Indicator—Helix Floor only: Move the built-in expression pedal. The EXP scribble strip displays a position indicator (0 ~ 100%). In addition, a new Global Settings > Displays > Pedal Position Display parameter lets you determine whether the indicator is temporary (disappears after 1 second, the default) or remains visible Pedal Edit Mode Enhancements—Pedal Edit Mode now lets you tweak Input and Output block parameters with your feet, including Variax String volume, PowerCab Plus Remote parameters, and DT25/DT50 parameters New Features (Helix Native 1.80) HX Unity—Helix Floor, Helix Rack/Control, Helix LT, Helix Native, HX Effects, and HX Stomp all now live within the same ecosystem. Using multiple windows within HX Edit and/or multiple instances within the Helix Native plug-in, both blocks and entire presets can be freely dragged and dropped or copied and pasted between units. Aside from a few obvious caveats (like six blocks in HX Stomp or effects only in HX Effects), all Helix and HX products can now share the same content Hardware Compatibility Modes—Helix Native can now reflect the signal flow and model set of all Helix and HX hardware devices, so transferring presets to and from your DAW is even easier. In addition, Hardware Compatibility can be disabled, so the simultaneous model count is now limited only by the speed of your computer. From the lower left-corner of the plug-in window, click your User Name and select "Preferences..." From the Hardware Compatibility Mode pull-down menu, select the desired hardware (or none at all). Undo/Redo—From the Edit pull-down menu, select Undo (Shortcut: Command-Z) or Redo (Shortcut: Shift-Command-Z) to undo or redo the most recent edit Okay, this one isn't technically a feature, but Helix Native is now $99.99 US for all registered owners of Helix Floor, Helix Rack, Helix LT, HX Effects, and HX Stomp Improvements/Changes · Helix Floor, Rack/Control, LT, HX Effects only (feature is already in HX Stomp): Additional values have been added to recall snapshots remotely via MIDI. CC69 Value 8 will select the next snapshot and Value 9 will select the previous snapshot · Helix Floor, Rack/Control, LT only (feature is already in HX Effects and HX Stomp): Global Settings > Footswitches > Touch Select now lets you choose whether (if) touching a switch, pressing a switch, or both selects any assigned item. The default remains "Touch." · Helix Floor, Rack/Control, LT, HX Effects only: Pressing Up and Down switches now exits snapshot mode as well as entering it. · Helix Floor, Rack/Control, LT only: The "Pac Man" shortcut where moving the joystick right from the Output block jumps to the Input block (and vice versa) now also works when moving the joystick up and down · Helix Floor, Rack/Control, LT only (feature is already in HX Stomp and HX Effects): On the Save Preset screen, moving the joystick right from the last character jumps to the first (and vice versa) · Helix Floor, Rack/Control, LT only: Page indication has changed from small colored dots to the right of the inspector to a scrolling inspector header line (similar to the one in HX Stomp) · Impulse Response blocks now display as many IR file name characters as will fit in the inspector header. In addition, the last several characters will be visible regardless of name length (as they're often the most important ones!) · Helix Floor, Rack/Control, LT, HX Stomp: Pressing the Cab > Mic parameter knob now returns the value to default · Helix Floor, Rack/Control, LT only (feature is already in HX Stomp): The boot screen now displays a red progress bar · Helix Floor, Rack/Control, LT, HX Effects: Copying and pasting all Command Center commands now properly pastes any custom labels · Helix Floor, Rack/Control, LT, HX Effects: Pressing Up and Down together from Snapshot mode now exits to the previous mode (same as pressing EXIT)
  3. Presonid

    Joystick Failure Mode - Ideascale

    The rotatory fuction firstly, and some months later the push down (the main function --> we need a workaround please), failed for the second time (under warranty). It is a hardware issue (cable soldering). Up, downn, left and right are OK.
  4. Presonid

    Switching Joystick-button and Action button

    Second time I have the joystick issue ,rotatory and push down don't work. Hardware issue. Bad cable soldering (under warranty).
  5. Thank you jaybee77 http://line6.com/support/topic/19961-helix-amp-model-gallery-real-controls-vs-invented/page-2 fixed,
  6. Presonid

    Helix Amp Model Gallery - Real Controls vs Invented

    ---------------------- Firmware 2.50 (Namm 2018 HX Effect pedal) February 2018: Firmware 2.60 (July 2018) Clean Channels Lonestar and Friedman HBE New Amps (2) Cali Texas Ch2, based on* the drive channel of the MESA/Boogie Lonestar Real: Drive; Gain, Treble; Mid; Bass; Presence; Master; Switch: Normal-Thick-Thicker Helix: Drive 1 (Drive); Drive 2 (Gain); Treble; Mid; Bass; Presence; Master; Switch : Normal-Thick-Thicker "AMAZING CLEANS, CLASSIC BREAKUP AND HIGH GAIN TONES IN A SINGLE AMPLIFIER Modeled the original Lone Star ("Classic"), not the Special edition. The Lone Star is a two-channel amp. Channel 1 is similar to a blackface Fender. It's also capable of blues-like distortion. Channel 2 has two faces. It can be a clone of channel 1, with slightly more gain. Or extra gain stages can be added ("high-gain" Drive mode) by flipping a switch, in which case an additional gain control comes into play. A Voicing switch (Normal / Thick / Thicker) lets you finetune the Drive mode. channel 2's Drive mode. The current version of the Lone Star amp is driven by 6L6 (modeled) or EL34 tubes, and lets the player choose between 10 watts (Class A), 50 or 100 watts (Class A/B) power, per channel. And just like with the Rectifier, the player can also choose between Tube and Diode Rectifier . The amp has a single input. The Lone Star has a built-in Variac ("Tweed" setting) and Reverb. Each channel has Gain, Treble, Mid, Bass, Presence and Master controls. There's a separate Drive control for channel 2's Drive mode. For the Cali Texas Ch2 is based on the classic model set at 50w (Class AB) with 6L6 tubes. You'll be able to choose the tone stack voicing within the model just like on the amp. We modeled the amp with the reverb bypassed as we usually do with amps with built in reverb. The amp was set to tube rectification as you can get the SS behavior with the sag param turned down. The bias param down can also be used to get the feel of the tweed power mode. The channel two on the Lonestar is pretty much like an alternate clean (and bit beefier) when set to clean, but when set to drive introduces the drive control with its associated tube states. The drive and gain knobs are named Drive 1 and Drive 2 respectively and will have the added gain stage always on (Drive Mode). We had thought about adding the behavior of setting the channel to clean, but when Ch2 is set to clean and in normal mode, it is essentially the same as Ch1. Line6 really think about doing the amps as much justice as possible, but also want to keep every part of every model as "Helix-esqe" in every element of the experience. Cab Celestion Black Shadow C90 Speaker (Like a much smoother Greenback but with more bottom end or a Classic Lead 80 with a more robust lower midrange, it is It is dark and compressed). Tips: Clean channel, a great place to start is straight up 12 o'clock on the EQ settings, with the exception of the bass. The bass on both of the Lone Star channels is pretty awesome so you don't need as much on the knob as you would on a lot of other amps. On the clean channels, I usually have the bass at just a little less than noon. Dirty channel, with Drive engaged and both Drive and Gain set somewhere close to 2 or 3 o'clock (or Drive slighty less than Gain) then season to taste with Presence (noon max), Treble and Middle (around 1 pm). The Bass control needs to be set very low when the Drive and Gain are set that high. The Lone Star also has a nice amount of gain, but not TOO much where it gets buzzy like a lot of amps do with the gain set high. It also takes pedals really well so sometimes I'll hit the front end with a gain pedal. Info from Lonestar manual: -DRIVE: This is the pre-drive control for the high gain preamp in Channel 2. It may be switched out of the circuit, along with its associated tube stages, to create a slightly higher gain clone of Channel 1 in (this bottom) Channel 2. When the DRIVE_control is activated (switch left, towards DRIVE), this control operates in conjunction with the GAIN control to meter the amount of preamp drive that will be introduced into the circuit. Generally speaking, you will find better response and dynamics combined with smoother saturation by setting the GAIN control higher than DRIVE. In fact you might try leaving the GAIN set to 2:00 (70%) or 3:00 (80%) and just playing with the DRIVE to learn the regions of saturation. You will probably find the more blues oriented sounds between 9:00 (20%) and 11:00 (40%), while the really saturated high gain sounds appear between 1:00 (60%) and 3:00 (80%). Setting the GAIN control slightly higher than the DRIVE will produce a warmer quality to the sound and in most cases this is preferable. By all means experiment with setting the GAIN lower than the DRIVE, as the brighter, thinner character may be desirable for your application. Learning the relationship between these two controls is probably the most important element to finding your signature lead sound. They are extremely powerful, as they control how your guitar feeds the preamp and also determine the signal strength that is pumped through the tone control string. This in turn affects how the tone controls will respond. At extremely high settings you will be hearing mostly gain saturation as the tone controls become recessive due to over-saturation. This is fine if complete saturation is the desired effect, but remember, many of the best sounds are found with more moderate settings where the gain controls interact with the tone control string to produce a balance of frequencies. DRIVE the overdrive circuitry is active and additional tube stages are added in front of the normal “rhythm†circuitry to produce a multi-stage high gain lead channel. THICK_/_NORMAL_/_THICKER: This 3 position mini toggle allows you to select between three different voicings. It selects what frequency the Treble control will enhance. By lowering the frequency of the treble capacitor, additional gain in these frequencies is added. This allows you to shape the sound for either sparkling clean sounds, or fatten up the Treble region and thicken the sound for more voice like single note solo sounds. Spend some time experimenting with this switch as it can be crucial to attain the lead sound you are searching for as well as allowing you to cop the vibe of several classic amp styles. NORMAL is the best choice for clean chording and traditional blues style single note solo sounds. In this position the highest frequencies are passed through with the best balance between the three tone controls gain wise. In other words the gain of the Treble region is in line with that of the Bass and Mid. Here the most sparkle and shimmer will appear and a beautiful blend will be easy to achieve for all your clean work. The NORMAL selection will also let the true character of your individual guitar shine through more than the gain enhanced character of the other two choices. When searching for identifiable signature sounds, NORMAL would be the best choice for traditional black face style clean or clipped sounds due to this lack of alteration of the classic treble frequencies. THICK lowers the frequency of the Treble region while keeping the gain closer to that of the NORMAL setting. This selection fattens the upper region and smears the line between Mid and Treble to achieve a more robust, throatier sound. THICK is the best choice when searching for classic style response for either chording or overdriven sounds. You might think of it as a plexi switch. THICKER lowers the Treble frequency even further and adds considerable gain in that region. It can enhance high gain solo work by saturating the sound and covering up fret buzz, weak pickups or other nuances that will appear as holes in a high gain lead sound. It allows you to retain focus at extreme gain settings while at the same time reducing the dreaded buzziness that can appear with certain guitars or speaker choices. This setting has appeared in various clothing on virtually all MESA amplifiers through the years and is classic Boogie. THICKER is the choice for the trademark singing sustain that has long been associated with our amplifiers. -GAIN: This control adjusts the predominant gain stage in each channel's circuit with the function and taper being optimized for each individual channel. The most powerful control in the preamp. It shapes the overall style and character of the sound and is responsible for whether the sound is clean, overdriven or anywhere in between. It not only determines the amount of drive, but also acts as an integral part of the tone control string as well. To simplify the GAIN controls' role in shaping the overall tone of the sound we will look at it in two ways - 1)_alone and 2) in conjunction with the tone controls. 1)_By_itself_the_GAIN_control_has_basically_three_tonal_regions: Gain Low [7:00 am (0) - 11:00 am (40%)] provides the cleanest, least saturated sounds and in this region the sound will be brighter and contain more upper harmonics lending a three dimensional character to the sound. Middle [ 11:15 (40%) - 2:00 (70%) ] enhances the saturation and replaces some of the upper harmonics with a richer, warmer quality and a fuller bottom end response. Not yet fully saturated, this region is the easiest place to get a great sound in both channels. This region contains many of the LONE_STAR's_best sounds...especially for soloing due to the crucial blend of an expressive attack combined with ample sustain. High [ 2:15 (70%) - 5:00 (100%) ] saturates the signal and enhances low and low mid frequencies. While this region provides the maximum saturation and therefor sustain, it also compresses and softens the attack characteristics. For this reason we suggest using this higher region of the GAIN control sparingly and only when maximum sustain is needed. The LONE_STAR was designed to provide amazing gain and tone at less than extreme settings removing the need for you to crank everything all the way up. If you are not able to achieve the sound you want at sensible settings on any or all of the controls, your problem may lie elsewhere in the signal chain, i.e. pick-ups, cabinetry, processing etc. 2.) GAIN In_ conjunction_with_the_Tone_Controls: - Basically, a simple rule applies...as the Gain is increased the Tone control string has less and less effect on the signal until at 5:00 the signal is so saturated that you are getting mostly Gain and very little Tone. Again, This is the reason we suggest using the GAIN control in its middle region. Here the Tone control string is very active and provides maximum shaping power - allowing you to dial virtually any sound you desire. TREBLE:As in most tube guitar amplifiers, the TREBLE control is the most powerful of the rotary controls and is next in line only to the GAIN control as a shaping tool. Because it is first in the signal path of the tone controls - and from here the Middle and Bass receive their signal - it is by far the dominant tone control. For this reason is very important for equal representation of the three frequency regions to appear at their respective controls. There is an optimum region of the TREBLE control [ 11:00 (40%) - 1:30 (65%) ] where ample top end is mixed in and yet enough signal is still passed on to the MIDDLE and BASS controls. As you might surmise, here is the sweet spot .There are definitely great sounds above and below this middle region ( 11:00 - 1:30 ), but the balance between the TREBLE_control and the other two tone controls is compromised. The TREBLE control can be used to dump extra gain into the mix. This is especially effective in CHANNEL 1 and Channel 2 with the DRIVE bypassed. When doing so, use the PRESENCE control to roll off some of the more than ample top end for a more compressed feel and fatter voice. As you might surmise, the BASS control's effectiveness will be reduced, so you may have to run a much higher setting than you are used to seeing to achieve a balance. MID: The MID_control is responsible for the blend of midrange frequencies in the mix and though its effect is not as dramatic as that of the TREBLE control, it plays an integral part in achieving any sound It is capable of changing the feel dramatically as it blends in a group of frequencies that tend to soften or stiffen the way a sound feels to play. Most players tend to lean in the direction of lower MID control settings [ 7:00 am (0) - 11:00 am (40%) ] where a scoop in this region produces girth ( by letting the Bass become a little more dominant ) and a lack of punch lends a more compressed, even feel to the strings and therefore less apparent resistance to the pick. As the MID control is increased, ( 11:30 am (45%) - 1:30 pm (65%) ) the sound is rounded-out and filled-in with a focused mid attack appearing rather quickly. As you would guess, the feel starts to change - becoming more resistant. Above this region the MID_control could be used to compensate for either weaker pick-ups or for times when a specific deficiency is produced by either an extremely high setting of other tone controls, or a physical anomaly in the room. While these MID control settings [ 2:00 pm (70%) - 5:00 pm (100%) ] can introduce added gain and create enhanced focus, the trade-off will be a stiffer, more forward, less compressed feel. BASS: Determines the amount of low frequencies present in a sound. However, the style of lows it mixes in changes from channel to channel. Like the MID control, it falls in line signal-wise after the TREBLE control and the same scheme applies. When the TREBLE control is set high, the effectiveness of the BASS and MID controls is reduced. If the TREBLE control is set low these two controls become dominant. For the most balanced sound and a balance of power between the three rotary tone controls, try to use the TREBLE control in its middle ranges. This scenario produces nearly equal representation of all the frequencies on the tone controls and provides a great neutral starting point for further tweaking. A good rule to follow is this; as you increase the GAIN reduce the BASS. Following this scheme will retain balance and keep the attack of the notes dynamic, tight and touch sensitive. - PRESENCE: The PRESENCE control is a high frequency attentuator that is placed at the end of each channels pre-amp stage and affects frequencies higher than those of the TREBLE control. It acts independently of the other rotary tone controls and is crucial in voicing the Channel. It is a powerful global tone control. Lower PRESENCE control settings darken and, in fact compress the signal which works well to fatten single note solo sounds, giving them girth and focus. Some of the best lead sounds in your LONE_STAR will find the PRESENCE control in it's lower regions, where a balanced, vocal response is achieved. - MASTER: This control is the master feed from the end of the pre-amp to the driver stage and the Effects Loop. As you can see each Channel is fitted with its own MASTER control, enabling both channels relative volumes to be matched regardless of their extremely different sound styles and gain signatures. The MASTER control makes possible a wide range of sounds through its ability to use very low Gain sounds at high volumes and conversely, high Gain sounds at low volumes and everywhere between. Again, we suggest using the MASTER control in its sensible ranges [ 9:00 am (20%) - 2:00 pm (70%) ]. NOTE: The RECTIFIER SWITCH (Rear Panel) has a built in RECTIFIER TRACKING feature that ensures proper matching for each power setting. In 50W, either a TUBE RECTIFIER or a silicon DIODE may be chosen as the rectification element with the Tube offering the most giveand elasticity. Example: Drive 5 o 6; Gain: 7 o 8; Treble: 6; Mid: 5; Bass: 2; Presence: 3; Master: 4 o 3 Placater Dirty, based on* the BE/HBE channel of theFriedman BE-100 Based on: amp by Dave Friedman of Rack Systems, what many call the ultimate modded Plexi. HBE: alternate voicing with a gain boost (preamp triode boost). A killer hi-gain tone in your arsenal. Single input, EL34 tubes, 100 watts. 12AX7 Preamp Tubes Speaker V30, G12M, G12H, Marshall. Original controls: Gain, Master, Bass, Middle, Treble, Presence. Switches: FAT (model: FAT), C45 (treble boost), SAT (model: SAT), Voice. The Friedman BE100 is a hand-wired, 100-watt, EL34 powered, multi-channel British-style amp. By merely adjusting the gain and master volume controls, the BE100 can produce a variety of tones, seamlessly transitioning from blues to classic rock or hard rock to metal. To say it is British-styled is just the start of describing this inspiring tone machine. The BE100 is a critically acclaimed amplifier created for the many musicians who have longed for the Friedman sound in a 100-watt format, as seen on the stages of superstars like Alice in Chains, Pink, Bon Jovi, The Cult, and Foo Fighters. Plug into to the BE100 and you will instantly notice the huge, tight low-end and rich harmonically detailed chords at any volume, made possible by Friedman's superior Master Volume control. Single notes take on that Holy Grail singing quality all guitarists strive to attain but rarely can through most amps. The BE100 cleans up remarkably well with the guitar's volume control, even with the amp on higher gain settings. For a more dramatic clean sound, switch over to the clean channel and dial in the bass, treble and three-way bright switch tone shaping controls. All 3 modes (BE, HBE, CLEAN) can be accessed from the amp's front panel or from the included 2-button footswitch. The BE100 was designed to take pedals and loves boosts, OD's, phasers, flangers, tremolos and wahs, while the brand new ultra-transparent series effects loop handles your time-based effects pedals and rack units. The Friedman BE was originally named "Marsha". It's MUCH darker (bassy with lots of lowpass filtering) than newer Mark Day's BE100 BE/HBE (brighter and tighter.). "The BE/HBE has a fixed depth circuit that gives a lot of bass boost. "If you want more clarity in the low mids from the BE/HBE reduce Negative Feedback. Friedman's designs are a bit odd in that he takes the feedback off the speaker jack rather than off a transformer tap. The mating cab for a BE/HBE is 16 ohms which means lots of feedback. But if you connect the amp to an 8 ohm load there is about 30% less feedback. The amp will sound tighter and clearer in the low mids. "C45 is a treble boost on the input. Put a filter block before the amp as follows: Type: Tilt EQ. Freq: 700 Hz. Gain: 4.5 dB." The model in Helix is one of the newer ones (Mark) with some revisions on the feedback circuitry and many or all the switches are also built into the model. By gtr37: The BE channel It's not really higain amp, It's about 3 gain stages, that's why it behaves well with volume roll off on your guitars. Satuartion is adding a clipping circuit into the channel, adds distortion and a more aggressive character and attack to the tone. Some people like it some do not. it also is not great in the higher HBE mode as it add too much hair. HBE is basically the BE with and added tube gain stage, so 4 stages. More sustain midrange bump and more gain. It's smoother . C45 is like a bright cap in a Marshall it makes the first stage brightergain amp Info from the Friedman HBE manual: We recommend starting the amp on the BE channel with the Bass on 10, the Mids at around 6, the Treble at 5 and the Presence at 5. Set the Gain around 8 and then bring the master up to taste. After plugging in, you will notice instantly, the tight bottom end and rich harmonically detailed chords and single notes, that's the Friedman sound. This amp cleans up remarkably well with the guitar's volume control even with the amp on higher gain settings. For even more gain switch to HBE mode. FAT SWITCH: Like it says, makes the BE100 sound fatter. Great for single coil pickups. C45 SWITCH: This is a custom voicing switch for the BE/HBE channel. Turn it on, if you like leave it on. It's kinda cool. SAT SWITCH: Primarily designed to be used in the BE or C45 mode to add gain, compression and saturation. It is normal for the volume level to drop with this switch engaged. Compensate with the amp's Master volume. The first is the FAT switch, intended for thickening up the tone when playing with single coil or other lower output pickups. The C45 switch directly affects the gain, adding a little more push, and enhances highs and lows. The last toggle, SAT (as in Saturation), compresses the sound and adds a bit of increased gain and sustain. PRESENCE CONTROL: Adjusts the upper mids and highs in the power amp section. Global on all channels. Start at about 4-5 and adjust to taste. BASS CONTROL: This adds or takes away bass or bottom end. As the amp gets louder you may want to back this off a bit. Start at 7-10 for bedroom volumes. (In Helix 4-5 as start point could be better). MIDDLE CONTROL :Adds or takes away midrange. Start at 5 or 6, lower settings will scoop the mids,higher levels will allow your audience to actually hear the guitar in the mix. TREBLE CONTROL:This adds or takes away treble. Start at 5 and adjust to taste. MASTER CONTROL: This is the BE/HBE Volume. GAIN CONTROL: This adds gain/distortion. Adjust to taste. Don't be afraid. VOICE SWITCH (Not modeled):This is a subtle yet effective tonal variance for the BE/HBE channel. Left position is slightly darker with more mids, right position is slightly brighter with a bigger bass --------------------------------------------------------------------------------- New HX Effects (6) Firmware 2.5 Delay ; Multi Pass (Mono, Stereo), Line 6 Original bandpass-filtered multitap delay Reverb ; Glitz (Mono, Stereo), Line 6 Original Reverb ; Ganymede (Mono, Stereo), Line 6 Original Reverb ; Searchlights (Mono, Stereo), Line 6 Original Reverb ; Plateaux (Mono, Stereo), Line 6 Original Reverb ; Double Tank (Mono, Stereo), Line 6 Original New Legacy Effects Models (77) - (41 not previously available in Helix) https://line6.com/da... - English .pdf https://line6.com/m1...elgallery02.pdf Helix Floor, Rack/Control, and LT now include a library of effects from M13, M9, M5, DL4, DM4, FM4, and MM4. These appear in a new "Legacy" subcategory in the model list. -Distortions Legacy Effects: Tube Drive = Valve Driver (helix) - Based on* the Chandler Tube Driver, delivering the sweet singing sustain craved by guitarists worldwide. Screamer - Based on* an Ibanez Tube Screamer. In many blues circles, you're not allowed to solo without one of these medium-gain pedals! Overdrive - Based on* the DOD Overdrive/Preamp 250 designed to slam the input of a tube guitar amp forcing the amp to distort violently. Classic Dist - Based on* the ProCo Rat, an angry and aggressive distortion box that put teeth into a new breed of metal in the late 70's. Heavy Dist - BOSS Metal Zone (not available in helix before) - Based on* Boss Metal Zone, the industry standard distortion pedal for metal players since 1989. Colordrive - Colorsound Overdriver(not available in helix before) - Our model will transport you instantly back to that breeding ground of British guitar heroes. Buzz Saw - Maestro Fuzz Tone (not available in helix before) - Take a deep breath and repeat: I can't get no (duh, duh, duh) Satisfaction. Facial Fuzz - Based on* the Arbiter Fuzz Face, best known for its famous association with guitar legends Jimi Hendrix ; Eric Johnson. Jumbo Fuzz -Vox Tone Bender (not available in helix before) - Based on* the Vox Tone Bender. It can be heard all over the first two Led Zeppelin records, and is especially apparent on Communication Breakdown. Fuzz Pi - Based on* the Electro-Harmonix Big Muff Pi, this is an American twist on the distortion/fuzz pedal, known more for its wicked sustain than its buzz. Jet Fuzz -Roland Jet Phaser (not available in helix before) - Based on* the Roland Jet Phaser. It's a fuzz. It's a phaser. Yeah baby! Time to grab your 8-tracks of Uli Roth era Scorpions. Line 6 Distortion -Line6 Original (not available in helix before) - Completely over the top. Sure, it's massive. Yes, it's over the top. Okay, it's a lotta crazy!!! Sub Oct Fuzz - PAiA Roctave Divider (not available in helix before) - Inspired by* the PAiA Roctave Divider, this fuzz with an octave below is just what you need to give those Moog players a fit! Try it on bass guitar”this is the Octaver of Doom! Octave Fuzz - Based on* the Tycobrahe Octavia, the classic fuzz+octave effect. One pioneering user of this type of effect was Jimi Hendrix. L6 Driver -Colorsound Overdriver MODDED (not available in helix before) - Inspired by* the Colorsound Tone Bender. If we could go back to the 60's and be a part of the fuzz revolution... this is what we'd design. - Dynamics Legacy effects: Tube Comp -Based on* the Teletronix LA-2A studio compressor. Considered one of the finest compressors in many circles. Red Comp - Based on* the MXR Dyna Comp, probably the most widely used stompbox compressor. Slide players such as Lowell George loved it. Blue Comp - BOSS CS-1 (not available in helix before) -Based on* the Boss CS-1 Compression Sustainer with the treble switch off. Blue Comp Treb -BOSS CS-1 Treble Switch ON (not available in helix before) -Based on* the Boss CS-1 Compression Sustainer with the treble switch on. Vetta Comp - L6 Original (not available in helix before) - Taken from Line 6's flagship guitar amplifier Vetta II. With a fixed ratio of 2.35:1, adjustable threshold and up to 12dB of gain available at the Level knob. Vetta Juice -L6 Original (not available in helix before) - A Line 6 original also created for our flagship Vetta II guitar amplifier, the Juice in Vetta Juice comes from the 30dB of available gain in the Level knob. Boost Comp - MXR Micro Amp (not available in helix before) - Inspired by* a MXR Micro Amp. Our model delivers the same goose the input of the amp experience and serves up a little secret sauce on the side. -Modulation Legacy Effects: Pattern Tremolo - (not available in helix before) - Inspired by* Lightfoot Labs Goatkeeper. This effect is what you'd get if you could hook up a vintage keyboard sequencer to a tremolo. Panner -L6 Original= Vol Pan in Helix Bias Tremolo - Based on* the 1960 Vox AC-15 Tremolo, which got its pulse by literally varying the bias of the power amp tubes. Opto Tremolo - Based on* the optical tremolo circuit that was used in the blackface Fender amps, like the 64 Deluxe Reverb. Script Phase - Based on* MXR Phase 90. Just like the original our model only features a Speed control. Panned Phaser -Ibanez Flying Pan (not available in helix before) - Based on* the Ibanez Flying Pan. It's a 4-stage phase shifter with a panner built in. Barberpole - L6 Original (not available in helix before) - A classic effect from the world of modular synths. This phaser either sounds like it's always going up or always down depending on how you set it. Set to stereo you get both! Dual Phaser -MuTron Bi Phase (not available in helix before) - Based on* the Mu-Tron Bi-Phase known for it's big jet sound. U-Vibe - Based on* the now-legendary Uni-Vibe, one listen to Machine Gun€ and you'll be hooked on this effect model! Phaser - Inspired by* the MXR Phase 90. Just add brown sound and you'll be Talking Bout Love. Our model features additional parameters to take you there and back again. Pitch Vibrato -Based on* the Boss VB-2. It contained a circuit that produced bubbly vibrato, but was popular for its rise time control that when engaged, sped up to where you last set it. Dimension - Roland Dimension D (not available in helix before) - Based on* the Roland Dimension D. One of the first true stereo chorus units. Relatively subtle in it's nature, it became an industry standard for double-track effects. Analog Chorus - Based on* the Boss CE-1 Chorus Ensemble, the original stompbox chorus with big, warm and groovy chorus tones. Tri Chorus - Based on* the Song Bird / DyTronics Tri-Stereo Chorus. You may have never seen one, but you've heard it hundreds of times. Analog Flanger - Inspired by* the classic MXR Flanger. You've heard it many times on Van Halen's Fair Warning, Women and Children First, and Unchained Jet Flanger - Inspired by* the A/DA Flanger with its signature jet-like sweep. Compared to the Analog Flanger, this model is more dramatic, with a different wave shape. AC Flanger - Based on* the classic MXR Flanger. This model features the knob functions you'd see on the original. 80A Flanger - Based on* the A/DA Flanger. True to the original, this model features same knob functions as the classic. Frequency Shift -L6 Original (not available in helix before) - A ring modulator gives you both up and down shifted frequencies. Here you can select just the up or down shifted frequencies. Ring Modulator - Ring modulators are for those special times when you want different, weird, strange and otherwise nontraditional guitar sounds. Rotary Drum - Based on* the Fender Vibratone. This rotating speaker effect was a popular hit with SRV. Think Cold Shot. Rotary Drm/Horn- Based on* the Leslie 145, the tube-driven rotating speaker cabinet. It was made for the B3 but guitarists fell in love with this shimmery effect. -Delays Legacy Effects: Ping Pong - L6 Original -This effect has two separate channels of delay, with the output of each channel flowing into the other, going back and forth like a game of ping pong. Dynamic- L6 Original (not available in helix before) - Made popular by the T.C. Electronic 2290 Dynamic Digital Delay. While you play, the Dynamic Delay keeps the volume of the echoes turned down, so that the echoes don't overwhelm what you're doing. Stereo - L6 Original (not available in helix before) - Here's the secret to the Big L.A. Solo sound of the 80s. Set one side as a fast echo with many repeats, and the other as a slow delay with just a few repeats. Voilà , you're famous! Digital -This model is a straight up digital delay with bass and treble tone controls. Nothing fancy here, just transparent pristine echo-cho-cho-cho. Dig w/ Mod - L6 Original (not available in helix before ?) - Choose this model to add a chorus effect to your digital delays. Reverse - !seltaeB eht dna xirdneH imiJ ekil tsuJ Take a step back in time. Whatever you play in comes back out at you backwards, delayed by the time you set (up to 2 seconds). Lo Res - L6 Original (not available in helix before) - Early digital delay units generally had only 8 bit resolution. Low bit resolution can create a unique sort of grunge and noise. Tube Echo - Echoplex EP-1 (not available in helix before) - Based on* Maestro EP-1. Some say the holy grail of delay. Like ...tubes and tape is one great combination! Tape Echo - Based on* the Maestro EP-3 Echoplex. The EP-3 used transistors instead of tubes for the sound electronics. Sweep Echo - Take the tone of the Tube Echo and add a sweeping effect to the repeats to give you unique textures for adjusting the tone of your delays. Echo Platter -Blinson EchoRec (not available in helix before) - Based on* the Binson EchoRec. A staple for the likes of Pink Floyd. Rather than using tape, the EchoRec used a magnetic platter to record and play back. Analog Echo - Analog Delay. Treasured for it's warm, distorted delays only a bucket brigade delay can produce! Analog w/ Mod - Here's a model based on* the Electro-Harmonix Deluxe Memory Man, which is an analog delay with chorus. Auto-Volume Echo - This model gives you two effects in one. A volume fade-in swell used for a bowing effect. The other effect is an echo, complete with tape-style wow and flutter modulation. Multi-Head - Roland RE-101 Space Echo (not available in helix before) -Based on* the Roland RE-101 Space Echo. This model emulates the multiple playback heads of the original for that multi-tap delay effect. - Pitch/Synth Legacy Effects: Bass Octaver -EBS OctaBas (not available in helix before) - This effect gives you a clean octave down signal. It is very popular in bass rigs but players such as Jeff Beck have been known to bust out this effect. Smart Harmony - Inspired by* the Eventide H3000. This is a diatonic harmonizer. As a second guitar player for dual guitar parts. Octi Synth - L6 Original (not available in helix before) - Inspired by eight armed denizens of the deep. Everyone knows that all you need is a bottleneck and a reverb tank to get whale sounds, but how about our friend the Octopus? Synth O Matic - L6 Original (not available in helix before) - Inspired by a collection of vintage analog synths. This model features waveforms captured from a mouth watering collection of vintage synths. Attack Synth - korg X911 Guitar Synth (not available in helix before) - Based on* the Korg X911 Guitar Synth. Modeled after one of the waveforms in the X911, along with some of the wave shaping functions that are found on the original. Synth String -Roland GR700 Guitar Synth (not available in helix before) - Based on* the Roland GR700 Guitar Synth. Your Filter Modeler's Synth String model is based on one of the sounds of the GR700. Growler - L6 Original (not available in helix before) - R700 meets Mu-Tron III. Grrrrrrrrr! Voice Box - L6 Original (not available in helix before) - Inspired by* Vocoders, Vocal Tracts; Surgical Tubing. This model gives your guitar a sound that's typical of a classic talk box. V Tron - (not available in helix before) - Voice Box meets Mu-Tron III. In this model your guitar again speaks with an almost human voice, but now it does so in response to your playing. Q Filter - L6 Original (not available in helix before) - Your very own parked wah! You've heard it before from Mark Knopfler and from Brian May of Queen It's a wah parked in one position. Seeker - Z Vex Seek Wah (not available in helix before) - Inspired by* the Z-Vex Seek Wah. Imagine 8 parked wah filters set at varying positions and then sequenced through, creating a pulsating hypnotic vibe. Obi Wah - Oberheim voltage-controlled H filter (not available in helix before) - Based on* the Oberheim Voltage Controlled Sample and Hold filter. Voltage Controlled Filters create changes in tone by emphasizing random frequencies. Tron Up - Inspired by* the Mu-Tron III envelope follower. Part auto-wah, part triggered filter, it's all about wacky. Tron Down - Inspired by* the Mu-Tron III envelope follower. Part auto-wah, part triggered filter, it's all about wacky. Throbber - Electrix Filter Factory (not available in helix before) - It's perfect for cool Electronica sounds. Slow Filter - L6 Original (not available in helix before)[/color] - It's Swell! This triggered filter rolls off the high end of your tone, with adjustable speed. Your choice from dark to bright (the UP mode), or bright to dark (the DOWN mode). Spin Cycle - Craig Anderton's Wah/Anti-Wah (not available in helix before) - Inspired by Craig Anderton's Wah/Anti-Wah. This is what headphone mixes were made for! Imagine two wahs panned left and right working opposite directions from each other. Comet Trails - L6 Original (not available in helix before) - After several days spent crafting the code for our digital secret sauce, we found ourselves one afternoon surrounded by 10 empty cans of Dew, and sounds from another world. - Reverb Legacy Models: 12 of Helix's 17 reverbs originally appeared in M-Class processors and Verbzilla. As such, they've been moved into the new Legacy subcategory within the Reverb category - Plate: Based on a studio Plate reverb. Similar to the spring, in its metallic resonant quality. Plate reverbs consisted of a thin metal sheet suspended inside a box. - Room: Simulates the acoustic properties of a classic echo chamber , which was a room used in early recording studios for reverb effects. - Chamber: An elongated ambient space such as a hall, stairwell or elevator shaft creates this reverb type. Dreamy. - Hall: Simulates the sound of a concert hall or large open space with a strong reverb tail. Imagine a gymnasium, performance hall, or cathedral. - Echo: Just like it says ...echo...echo...echo. This is a lush echo with reverb. - Tile: Emulates the acoustic reflections of a tiled room, such as a bathroom or shower, with clearer/brighter discreet early reflections. - Cave: Surreal cavernous echo chamber. I'm just a simple caveman... Your world frightens and confuses me... what more can be said. - Ducking: Built using a Hall' but with a ducking effect. The volume of your reverb is ducked (reduced) while you're playing, and increases when you stop. - Octo: Creates a lush, ambient space with a harmonized decay whose harmonic denseness is controlled by the time knob. Use volume swells and prepare to float on cloud 9! - 63 Spring: Based on a 1963 brown spring reverb head unit. Best known for great surf guitar tone! - Spring: Based on a studio spring reverb. A spring reverb's characteristic resonant sound was created by springs suspended inside a metal box. Sweet! - Particle Verb: A Line 6 original that turns your chords into a lush modulated pad in stable mode. Critical mode adds a slight rise in pitch. All stops are removed when in Hazard mode. Impedance List (From POD HD manual; Helix impedance list is not available, but it should be similar): Amps & Preamps All Amp & Preamp Models 1M Distortion FX Screamer (Tube Screamer) 230k Color Drive (Colorsound) 136k Buzz Saw (Maestro Fuzz Tone) 230k Facial Fuzz (Arbiter Fuzz Face) 22k Jumbo Fuzz (Vox Tone Bender) 90k Fuzz Pi (Big Muff PI) 22k Octave Fuzz (Tycobrahe Octavia) 230k All Other Distortion Models 1M All Dynamics Models 1M Modulation FX Dual Phaser (Mu-Tron Bi Phase) 230k U-Vibe 90k Analog Choruis (Boss CE-1) 22k All Other Modulation Models 1M Filter FX All Filter Models 1M Pitch FX All Pitch Models 1M Delay FX Multi Head (Roland RE 101) 22k Analog Echo 230k Analog w/Mod 90k All Other Delay Models 1M Reverb FX All Reverb Models 1M Wah FX Weeper 90k All Other Wah Models 1M Helix impedance list (from a Line 6 software engineer, posted on Facebook, but not official): *every other effect not listed has a 1M input impedance as default ------------------------------------ Firmware 2.60 (July 2018) New effects: Deranged Master is based on the Dallas Rangemaster Treble Booster. The need for a treble booster arose in the mid-1960s as British tube amplifiers such as the Vox AC30 or Marshall JTM45, tended to produce a slightly dark, muddy sound when overdriven, particularly when used with humbucking pickups. A pre-amplifier that also boosted treble proved a solution. Additionally the vintage components in the Rangemaster circuitry could add characteristic distortion and overtones to color the guitar sound, much in the way of the more modern overdrive pedals. Deez One Vintage is a BOSS DS-1 distortion pedal model, while Deez One Mod gives you the Keeley mod version of the BOSS DS-1. La distorsión por excelencia de Boss. Un pedal superventas de aquellos que cumplen perfectamente con su función. The 1 Switch Looper is a new Line 6 original that doesn’t require you to leave Stomp mode. I like the sound of that, as it should make it a lot easier to set up a loop. 1 Switch Looper details: Looper: Add a Looper > 1 Switch Looper block to your preset and assign it to a stomp footswitch. (Adding a 1 Switch Looper to HX Effects from Stomp view automatically assigns it to the selected footswitch.) Press the 1 Switch Looper switch. The LED lights red, indicating the loop is recording. Press the 1 Switch Looper switch again.The LED lights green, indicating the loop is playing back. Press the 1 Switch Looper switch again.The LED lights amber, indicating the loop is in overdub mode. Subsequent presses of the switch toggle between play and overdub mode. While the 1 Switch Looper is in play or overdub mode, press and hold the switch for 1 second. The most recent recording is undone. Holding the switch again will redo the recording. On Helix, Helix Rack/Control, and HX Effects, “UNDO” or “REDO” briefly appears on the scribble strip. On Helix LT, “UNDO” or “REDO” briefly appears in Performance view. Quickly double-press the 1 Switch Looper switch. Playback/recording stops and the LED lights white, indicating a loop is in memory. While Looper playback/recording is stopped, press and hold the switch. The recording is deleted and the LED lights dim white.
  7. Presonid

    Helix Amp Model Gallery - Real Controls vs Invented

    Helix's Guitar Input has a digitally-controlled analog pad before A/D conversion. FWIW, the impedance circuit is the same. Edit November 2017: 2.30 firmware: New Amps (7) -Voltage Queen, based on* the Victoria Electro King Real: No Master, Volumen Normal, Volumen Tremolo, Depth, Voicing (Bass Treble), Frequency Helix:: Drive1; Drive 2; Tone =Voicing Bass and Treble; No Mids Drive 1 is the Volume Normal and Drive 2 is Volume Tremolo, the amp modeled has jumped Normal and Tremolo Channel. The Electro King is an idealized recreation of the classic McCarty era(late 50's Gibson) GA-40. Its circa 1957 circuit features two cathode biased 6V6s for 15watts of recording and small club power. The heart and soul of the Electro King is its 5879 preamp circuit; a single NOS 5879 input pentode for each of the normal and tremolo channels provides rich distortion and natural tube compression at any volume setting. Notes seem to be ‘blown’ out of the amp with overdriven tones that are saturated, dynamic and musical. Jeff Tweedy has his hands on one, do you? 15 watts of power 1957 GA-40 Type Circuit Cathode Bias Class A Push/Pull Output Standard Speaker; American Made 12″ Eminence, Jensen Alinco Tubes: 1-5Y3, 2-6V6, 2-12AX7,1-6SQ7, 2-5879 Breaks up almost immediately, especially with humbuckers. Zero headroom for cleans out of this thing. It's clean to about 2.5. At 3 it starts to break up and by 3.5 it's completely overdriven. The overdrive is real dirty in general and after about 6 on the dial it starts to introduce a bit of a high end treble buzz that sounds pretty cool when playing leads. You can tone this back but turning the voicing dial more toward the bass side instead of treble. Find the sweetest tone for rythym to be right around 5. Keep the dial at around 3 and play lightly on the strings it gives some nice cleans but when you really dig into the strings and you get the breakup. The Trem is pretty over the top. If you crank it all the way up it almost sounds as if the amp is turning itself on and off. At lower more useable settings it seems to be very organic, like your riding a wave of sound. ---------------------------------------------------------------------------------------------------------------------------------------------------- - Derailed Ingrid, based on* the Trainwreck Circuits Express Real: Volumen; Treble; Mids; Bass; Presence; Bright Switch; No Masster Helix Controls: Drive=Volumen; Treble; Mids; Bass; Presence; Bright (1, 2, 3); No Master -->10 • Preamp tubes: three ECC83 • Output tubes: two EL34, fixed bias • Rectifier: solid state • Output: 50 watts RMS +/- The Express is Fischer’s rendition of a Marshall-style amplifier, but only in the broadest sense, given the tremendous amount of originality in his circuits. It carries two EL34s in fixed-bias Class AB, with three ECC83s in the preamp, along with controls for Volume, Treble, Middle, Bass and Presence on the front panel – all looking very plexi-like. But, very little of what goes on inside is done quite like Marshall; rather than the archetypal cathode-follower T-M-B tone stack of the Marshalls (and Fender’s 5F6-A tweed Bassman), Fischer’s EQ stage follows the first preamp stage, with the Volume control placed after. Two further ECC83 gain stages, along with some interesting tweaks in each, ramp it up before it hits a long-tailed-pair phase inverter and what is a fairly conventional output stage. There are plenty of tricks throughout the rest of the amp, too, including a very robust six-diode bridge rectifier and heavy power filtering. Component selection, transformer design and production, layout and wire runs, solder type and technique, and tube selection were all considered integral to the function of these amps, which were far from cookie-cutter designs. In this way, no two Express amps were built precisely the same, and every one was very precisely tuned with consideration of the whole. “[Trainwrecks] are the most touch-sensitive amps you’ll ever play, by far. If you have a bad right hand, you do not want to play a Trainwreck! The sound’s so immediate from the pick to coming out of the amp, [which] opens a whole new kind of playing. You’ve got to get used to it, I suppose. The best thing, in my opinion, about Trainwrecks, is the harmonics. With a fair amount of gain on them, you can hit a chord and literally hear every string and the harmonics developing off of the chord as you get further and further from [the attack].†Fischer himself always considered his creations more instruments than mere “amplifiers,†and built them very much with the realization some guitarists just might not control them very well. “When you start getting complex harmonics, that’s what you need to make an amp sound complex. The more stable an amp becomes, the less complex it is.†---------------------------------------------------------------------------------------------------------------------------------------------------------------------- Brit Trem Nrm, based on* the normal channel of the Marshall Plexi Tremolo 50 Brit Trem Brt, based on* the bright channel of the Marshall Plexi Tremolo 50 Brit Trem Jump, based on* the normal and bright channel (jumped) of the Marshall Plexi Tremolo 50 JMP 50 with a pair of EL34 output tubes and with a solid state rectifier.; Real: Presence; Bass; Mid; Treble; Volumen Normal Channel; Volumen Bright Channel; No Master Helix Control: Presence; Bass; Mid; Treble; Volumen Normal Channel; Volumen Bright Channel; Master = 10 -->No Master The iconic JTM45—which got its initials from Marshall’s son Jim Terry Marshall. A few years later, Marshall switched to KT66 tubes to create the even louder 100-watt Super Lead 1959. In 1968, the company dialed back the decibels with the unveiling of a 50-watt, small-box head that would be called the JMP—an acronym for “Jim Marshall Products.†“What really makes this ’68 JMP unique among its brethren is that it was built in early 1968 making the amp more efficient to build and still keeping it handwired,†The use of EL34 power tubes, a solid-state rectifier tube for more gain, and two separate channels— bright and normal. Guitarists such as Jimmy Page, Jimi Hendrix, and countless others would eventually blend the two channels to get some of the most iconic guitar tones of all time. The 1968 straight-front 4x12 has Celestion pre-Rola G12-30 speakers with 041 cones, as well as its original basket-weave grille. Aesthetically, 1968 marked the first year Marshall switched to using white-script logos instead of gold lettering. That year also marked the first time front panels bore the JMP (rather than JTM) designation. Further, ’68 saw one more Marshall evolution— the complete switchover from fret cloth to the basket-weave cab covering that had been partially instituted in late 1967. In general, the Marshall amplifiers became "brighter" sounding through the years. While the JMP 50 watt electronic circuitry was similar to the JTM 45, the tone was quite different due; to the tuning of the circuit "brightness", the use of EL34 power amplifier tubes, solid state rectifier instead of a tube rectifier, and different electrical specifications for the both power and output transformers. Another key difference was the JMP 50 and JMP 100 amplifiers had a split biased preamp section for each channel, whereas the JTM 45 had a common biased preamp section.This resulted in the JMP amplifiers having slightly different gain in the first preamp stage for each channel, whereas the JTM amplifiers had the same gain in the first preamp stage for each channel. Both the JTM and JMP amplifiers had one “bright†and one “dark†channel for added bass response. The metal paneled JMP amplifiers were equipped with EL34 power tubes that provided the famous cranked up "Marshall Crunch". EL34 tubes are known for their compressed, tight, and mid-focused distortion, in comparison to the JTM amplifiers that were equipped with 6L6 (5881/KT66) tubes that provided a more open and less heavy distortion. The JMP set the standards for hard rock tone. ---------------------------------------------------------------------------------------------------------------------------------------------------- -Cartographer, based on* the Ben Adrian Cartographer Helix Controls: Drive; Drive2; Bass; Mid; Treble; Master; Presence; Depth; Bright 1 On/Off; Bright 2 On/Off it WELL out of Traynor land. It's mostly a modded 2204 Marshall, but with a pinch of Soldano, a pinch of Bogner, a pinch of Fryette*, and a scoop of Ben Adrian experiments. The Cartographer amp in Helix is a model of an amp built for Ben Adrian, use in his band "Cartographer." The amp started its life as a 1977 Traynor YBA-1. When it came into his possession, it had been poorly modded as was not working very well. He decided to take the amp and mod it himself into the amp that would work best for the band's sound. He cascaded the bright and normal channels, making it a single channel amp, with a circuit very close to the JMP MkII amp. This included adding a master volume. The output transformer (OT) was not performing well, and was on the small side for a 50 watt amp. He replaced it with a larger OT. The amp was a bit bright, so he nudged the tone stack component values a bit, and he removed the two high-shelf circuits in the preamp. He changed some resistor values to add more gain, adding the second gain knob, which adjusts the volume between the second and the third gain stages. This allows the preamp's distortion voicing to be varied by adjusting where the most distortion is being generated in the preamp. Any time he discovered a clever or particularly good sounding bit of circuit, Ben would try it out in his personal amp to see if it pushed it into a more pleasing direction.B Adrian realized that he needed those high shelf circuits for darker pickups. He added presence and depth controls. Since the amp model is unique and slightly complicated, give a rundown of the amp parameters. Drive 1, Drive 2 Drive 1 is the traditional gain knob in a high gain, master volume amp. This is located between the first tube gain stage and the second tube gain stage. Drive 2 controls the amount of gain between the second tube gain stage and the third tube gain stage. The character of the amp can change drastically based on where these knobs are in relation to one another. Drive 2 at max is the default position for high gain tones. then Drive 1 is the traditional gain knob. Of course, watch out for the Master knob being too high or things can get mushy. If Drive 1 is set low (say about 3) and the Master is set high, then the amp will get a plexi normal channel vibe with Drive 2 acting as the gain knob. With Drive 2 set low (2-3), and the Master volume at full, the amp can get big and clean, with Drive 1 bringing in just a bit of grit as it is turned up. There are lots of textures available. Please experiment with the interactivity between Drive 1, Drive 2, and the Master volume. Bass, Middle, Treble These behave line a regular amp tone stack; located between the preamp and the power amp. Of course the values are slightly different than the big name amps. Use your ears and turn until it sounds good. Channel Volume Like on every other amp in Helix, this is a volume control at the end of the model used to adjust the overall level of the preset without changing the tone or distortion amount. Master This knob behaves like the Master Volume on the actual amp. It's located after the preamp, but before the power amp. When it's turned up high it will cause power amp distortion and saturation. At lower levels it will add less of its non-linearity and the tone and distortion of the preamp will come through more clearly. Presence, Depth These are similar to other amp models that have these controls. Presence and Depth are treble and bass boosts respectively. They occur after the preamp but before the power amp. They can affect overall tone of the amp model, or help define the character of the power amp clipping. They can also be said to affect the damping in the power amp. Bright 1, Bright 2 The Cartographer amp has two bright switches. Both of these switches are high shelf boosts. Bright 1 adds a high boost after the first tube preamp stage. Bright 2 adds a high boost after the second tube preamp stage. They can be subtle, especially at higher gain setting. The usually affect the character and the harmonics of the preamp gain rather than provide a distinctive level boost in the high frequencies. Try turning them on for darker guitars. try experimenting by turning on each one individually and then both at the same time to discover how each one modifies the sound. Sag, Hum, Ripple, Bias, Bias eXcursion These behave the same as on other amp models. ------------------------------------------------------------------------------------------------------ -Agua 51, based on* the Aguilar DB751 bass amp Real: Gain; Treble; Mid; Bass; Master The DB 751 features an improved preamp that combines the legendary tube driven tone of the DB 750 with greater EQ control. A perfect combination of raw power and excellent tone, the DB 751 continues the legacy set by the world famous DB 750. Delivering 975 Watts at 2 ohms and 750 Watts at 4 ohms this amp has the headroom you need to play any size venue. Self-Diagnostic Protection Circuit and Thermal Overload Protection Circuit (both with LED indicators) Power Output: 975 watts @ 2 ohms, 750 watts @ 4 ohms, 400 watts @ 8 ohms Preamp Section: Three 12AX7’s Power Section: 12 complimentary lateral MOSFETs Transformer: Custom Aguilar toroidal power transformer EQ Section: passive tone stack with active midrange element, bass: +12 / -12 @ 40Hz; midrange: +12 / -12 @ 750Hz; treb: +12 / -7 @ 4kHz Deep Switch: Adds 5 dB of broadband boost at 30 Hz Bright Switch: Adds 5 dB of broadband boost at 5-7 kHz Inputs: One 1/4" input jack with an active/passive switch Made in NYC with some of the best components you can possibly put into an amp. They are super solid and can take being moved around and bumped they are made for gigging. They have massive headroom and sound somewhere in between a tube and solid state head. They sound great with different basses different cabs they are versatile. New Effects (7) Distortion Kinky Boost(Mono, Stereo), based on* theXotic EP Booster Distortion Thrifter Fuzz (Mono, Stereo), Line 6 Original Info from Sam: The Thrifter Fuzz came from my love of the fuzz circuit inside the Acoustic 360 preamp. It has a similar topology to a fuzzrite, with a different voicing for bass. The gating effect of the fuzz and character was fun, but it was a really hard fuzz to get more than just a few good sounds from. I took the things I liked about the circuit and tweaked it until I was happy with it. This... took a while since it was such a simple but interactive circuit to match for the behaviors I liked. Then I dialed and voiced such that it would work well for both guitar and bass tones, and a bit easier to work with. We added a psuedo-active notch filter to give more control to the voicing of the distortion characteristics, a Drive knob before the first distortion section, and a Thick switch to bring back some of the lows which were filtered out in the original circuit. The Attack knob is a balance between the first distortion stage and the second fixed gain stage, and is very interactive with the Drive knob. Dynamics Kinky Comp (Mono, Stereo), based on* theXotic SP Compressor Modulation Bleat Chop Trem(Mono, Stereo), based on* the Lightfoot Labs© Goatkeeper Modulation Double Take (Mono, Stereo), Line 6 Original double Info from Sam (SHwang_Guitars): I wanted to give a bit of an in-depth rundown specifically for the Double Take double tracker. The Double Take is a new double tracking effect made specifically for the Helix. Having spent a lot of time listening to a plethora of double tracked instruments, we found that the way a part is performed has a huge effect on how the layered tracks would feel. With this in mind, we wanted to make a new double track effect that responds dynamically with the way the player performs, adding the real-world dimension and depth you would get from having multiple recordings of a single part. This led to a whole new design from the ground up, with a lot of tuning available for the amount and types of variation between the doubled voices. This makes for the ability to have an incredibly realistic sounding and feeling double tracker with the ability to shape the feel at your finger(and foot-)tips. Doubles The main "Doubles" knob controls the number of double tracks into the mix from one to four generated voices, and in the stereo versions, the dry signal is assigned to a specified pan location. (Dry signal is underlined) 1 = Left and Right 2 = Left, Center, Right 3 = Left, Left, Right, Right 4 = Left, Left, Center, Right, Right Note: as each extra voice is added, there is a post-effect level compensation such that the overall dB of the remains about uniform. You can make up this change with the two output knobs if you want the same level hitting whatever you send the doubled tracks in to. Also since these are hard pans, you an also use the "stereo width" block to control how wide this effect is in the stereo field. Slop The Slop knob controls the amount of the slight variations in timing and pitch you would hear from each of the doubled voices. The variations are what we like to call "Defined Randomness" as this amount and timing is directly coupled with the dynamics of the original part. This knob controls the heart of this effect, as it will define the voices from tight and refined at low settings and all the way to(too?) wild and dynamic at max. With this knob you can set such that a softer touch there isn't much change to the original performance, but the harder you dig in, the more the doubled voices' strings stretch, slap around, and become widely de-correlated. Sensitivity This knob controls the sensitivity of the slop feature. The lower this parameter is set there will be less dynamic behavior from the voices. This can be viewed more or less like a threshold or input gain of a compressor, but specifically for the slop's detection algorithm. Source (Stereo only) The Double take can have a true stereo path. This parameter determines how the input signal is processed by the effect. Mono: Input will be summed to mono then processed by the Double Take True Stereo: Each side will be sent as a true stereo path, and each extra voice will be sent to the side of the source pan. Left Only: Only the left input will be sent into the Double Take Right Only: Only the right input will be sent into the Double Take Dry and Wet Levels Instead of a This controls the level of the original dry signal as it passes through the effect. Note the Dry Level Location above. Note: In "True Stereo" mode, the dry signal for the right will only be used for the doubles and will not pass through the effect. In "Right Only" mode, the Right channel will be sent to the left or center according to the Doubles parameter. Personally, I like to put it either after my amp and cab if I'm using the stereo version, or in mono right in front of the rig just after my guitar... Delay Cosmos Echo(Mono, Stereo), based on* the Roland RE-201 Space Echo Real: Repeat Rate; Intensity; Echo Volume; Mode Selector; Bass; Treble; Reerb Volume Helix Controls: Time; Ramp; Feedback; Wow Flutr; Mix; Mode (Head 1, 2, 3, 1 3, 2 3, 1 2 3); Bass; Treble; FB Tone; Splice; Dry Thru; Spread La máquina de la que hablamos es uno de los productos más queridos de Roland: Space Echo (en concreto el modelo RE-201). Space Echo se ve por todas partes, pero su sonido es aún más icónico que su diseño. Estos dos efectos básicos (echo y reverb) ofrecen a músicos y productores herramientas valiosas para crear ritmos, patrones, profundidad espacial, y efectos especiales. Desde su salida a principios de los 70, RE-201 –unido a echo de cinta y reverb a muelles– fue el producto favorito de músicos vanguardistas como Pink Floyd, Brian Eno, y Kraftwerk. Volume/Pan Stereo Width (Stereo), Line 6 Original utility to collapse stereo paths
  8. Presonid

    Joystick/ Action Button on Helix not working

    Happy end for my joystick issue (rotatory and push down), one day after it was fixed in a official line6 center. It should be so easy to repair that no extra spare items needed.
  9. Presonid

    Helix Amp Model Gallery - Real Controls vs Invented

    Hi, Jason, Ok no problem to take all this info for helixhelp. (Now it's even better), Next step Deep effect parameters (any voluntary dude or dudette?).
  10. Presonid

    Joystick/ Action Button on Helix not working

    Hi, here we have other user with this issue, after one year of very soft use, firstly it was the scrolling function (I can live without it, I thought), but 5 minutes after, the push down didn't work either, then the unit can't be used to edit any presets or create a new one by itself. The only workaround is the fking editor. Resetting the unit (Holding footswitch 9+10) and reflashing didn't help. I tried also 4&5 footswitches but it was not possible to sel unit test without the push down function. I opened a ticket and it seems to be hardware issue. Then I need to send it for repairing to a line6 service center (not only USA) or the purchase store. As this issue seems to be usual, It could be great to have other alternative way, in other button to perform the same push down function (for instance, press 2 sec page >). BR
  11. Presonid

    Helix vs HD500X A/B

  12. Presonid

    Helix Amp Model Gallery - Real Controls vs Invented

    Channel Switching with Helix Presets and Snapshots Before MIDI Switching for Snapshots it is important to program at least one Snapshot. Otherwise, when switching between Presets, the amp settings will be in the last state. The Program # is the code number of the MIDI PC (Program Change) Message that the Helix will send to the Amp with midi ( Blackstar Series 1 , JVM, ...) when you press a Preset or Snapshot button on the Helix. This is how the real Amp knows to change to a certain combination of settings. The Description is how the amp channels will be set after pressing a Preset or Snapshot button on the Helix. DO THIS: Go to Menu > Global Settings > MIDI/Tempo > Page 2 > MIDI PC Send - Turn this off > Press Home button THEN: Navigate to the Preset you want to program and select Snapshot 1. Press the “Menu†button and then press the “Command Center†knob. Use the joystick to move to an unused “Instant Command†(Lightning Bolt). I preffer the lightning bolt in the top left corner. That is Instant Command 1. With an Instant Command (Lightning Bolt) now highlighted, turn the Command knob to Command - Bank/Prog You should see five settings and they should look like this: Command: Bank/Prog Midi Ch: Base (try 1 if doesn't work ) Bank CC00: off Bank CC32: off Program: off (0, 1, 2, 3) will change the real channel in the midi amp For instance, Program# for Preset 01A Snapshot 1 is “0â€. So, set the Program to “0†(zero). Leave everything else as/is. Press Snapshot 2 button. Set Program to 1. and so on...Snapshot 3 Finally use the snapshot for the startimg point in the preset. and save the preset.
  13. Presonid

    3 Channel Switching with Valve Amp

    Issue solved with Snapshots (firmware 2.00). Thank you Line6!!!!
  14. Presonid

    MIDI PC Toggle for all !

    Issue soved with the Snapshot funtionality added with firmware 2.00. By the way now the midi channel change is perfect!!!
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