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Everything posted by ricstudioc

  1. Well as I mention above, all of my devices are specifically purposed - I don't mix them up. Difficult to explain briefly. Also as noted, Edit and Updater would not load as the Line6 site wasn't resolving correctly (Just garbage on screen) However - In poking at the lappy, I noted that the browser I use was getting kinda long in the tooth - hadn't noticed because this lappy goes online for perhaps 5 minutes a year, and NEVER for casual browsing. Quick updates, then switch wireless back off. I updated the browser and tried again - this time after the first error I got to the L6 site (resolving properly) and got HXedit and Updater installed, but once again neither of them would "see" the update online. So using Updater I went for a Local install using the file I referenced above. Success! Btw I'd like to change the title line, indicate problem solved, but damned if I can see how to do that.
  2. No. This PC is dedicated to its purpose, as is the music lappy. I'll resolve the lappy issue on it's own merits, right now I just want to make sure I have my ducks lined up to do a manual update. Think I'm good to go, but I'll wait to see if someone says "don't forget to....". Again, 12th commandment.
  3. Howdy all - For reasons I have yet to ascertain, my always-reliable* music laptop has been unable to connect properly to Line 6 as regards the 3.5 update. Not my first rodeo, the last few updates have been flawless. But something's going on - I open HXedit, it sees the update, I sign in and choose a storage location - get an"unable to update" error which then opens a browser to Line 6 which fails to resolve correctly. Time after time. Note that this is NOT an "update problem" as others might report - I'm not even getting that far into the process. The problem is on my end. On my office PC, where I am now, I've been able to download the HXedit installer, Updater installer (that fails also) - finally found what I THINK is the install package for the Helix itself - HELIX_Floor_v3.50.0_0xec7605f09_bundle.hxf. Does that look right? Just want to be absolutely sure so I don't break the 12th commandment - "Thou shalt not eff up thy firmware". Thanks! *always reliable till now. Scratching my head as to the problem.
  4. Only have a Floor, so take this with that caveat. And I'm not absolute sure on this, so won't feel bad if someone corrects me. As I recall, the main input on the floor is true analog - as such it reacts to/with the impedance loading of your pickups prior to going to digital. Send/returns are DAC reliant, basically digital all the way, and so not as responsive to impedance. This could make a significant difference in how an OD pedal responds - there was a near-civil-war on this point regarding at least one of the OD models in the Helix which ultimately resulted in the "first active effect" option being added regarding input impedance. Best suggestion - try it both ways, recording the results of each. Roll the guitar volume up/down and such while doing this. Then walk away for a while, come back and really listen - deep - to the results. Make your decision based on that.
  5. Hmm - interesting question. Personally my IEM levels aren't all that high, don't really have to be when you have a good solid seal around the earpiece - you're pretty isolated. So can't say I've ever had a problem regarding that. That said - I don't know for a fact that our FOH guy isn't running limiters/comps on the mix busses. It's the ubiquitous X32 console so he certainly could be. I'm seeing him in a couple days, I'll make a point to ask.
  6. Depends on your definition of "decent", I suppose. The band I "retired" from several years back asked if I'd get involved with a couple different "tribute" type shows they were putting together. Two hour, artist specific. But in the few years I'd been away they'd gone from zoned floor slants to in-ears. In the first of these projects I was only guest-ing on a few specific tunes - didn't seem cost-effective to spend +/- $1k for a few songs maybe once a month or so. So I poked around at bit, gave a try to the Xvive U4 system. Simple, rugged build - stated range is only around 90 feet, but how much do you really need? Started with a set of Shure 215's, wasn't impressed and after some searching/review grinding gave a set of KZ AS10 5 driver buds a try. I've now done a dozen or so shows with these - solid performance (absolute worst on some stages were a "walk through" dropout - split second) and the KZ's sound great, to the extent that 2 other bandmates now use them. Total price around $300. It's a mono setup, so if that matters yer out of luck. In fact the band bought an identical setup to keep handy for failsafe and/or guest players. Don't know that they're "audiophile", but they're certainly decent. It really is an amazing time to be a musician.
  7. The Helix has a MIDI out/THRU - with a little configuration you should be able to daisy chain from Helix A to Helix B. Otherwise - https://midisolutions.com/prodqth.htm I've got one of these in one of my builds, works great.
  8. Honestly curious - why? If they don't have any to SELL you, are they hoarding some to GIVE you? They've been out of stock for...months? A year? It's been a long time - and it's way beyond unacceptable by now. This is a critical part to a flagship product - and please don't tell me about VDI, the one project I use mine (plural) in is a show band where mobility is an absolute must and I'm wireless at all times. And I'm sort of an L6 fanboy - can look around from where I sit and see L6 guitars/amps/processors/wireless all around me. But the reality is I'm down (over the last few years) from 4 batteries on hand to 2, and one of them is getting weak. I'm going to need another, or two, all too soon. This needs to be rectified, soon.
  9. Let us know how it goes. Like I say, I've been as happy as that proverbial pig, but I never make assumptions for others. Funny about "latency" - most folks will throw the term around, and it's certainly a real thing, but seems like folks I encounter don't grasp that it exists in the real world and not only digital. I tend to play large stages, call it 50ft or more wide. With sound travelling at 1msec/foot (variables apply) that means that the guy on the other side of the stage is taking around 50ms to reach me, with varying lower figures from folks closer to me. It's amazing we've ever been able to make sense of anything on a stage. The X32 console reports an in-to-out latency of about 1msec. Let's be pessimistic and call it 3 - so miked cab (?) to console to monitor return sits in that range. Let's assume some additional latency at my digital transmitter, maybe 2msec? My Helix 1/4" line to the mixer (after internal conversion) is analog. Add that all up and the band mix I'm listening to is maybe 4-5msec total from moment of creation, with my Gtr signal being 1-2msec off of that. Compared to hearing just the stage sound, the in ears (which bring everything to me at the same time) are a clear winner. BTW we record every show - I've never heard anything that would be called "latency" getting to the audience. They hear it fine, I hear it fine - winner! Good luck - have fun - let us know!
  10. FWIW this is pretty much exactly what I do - I re-associated with a prior band for some special projects, and in my (several years) absence they had transitioned from wedges to in-ears as well as going from an analog board to an X32. I had picked up a cost-effective in-ear system (an Xvive U4, great bang for the buck), but literally on my way to the first gig I got nervous about trusting my personal guitar monitor to the sound guy. (Not chucking stones at him, Jesse is one of the best mix guys I've worked with. But seconds count on stage, and hearing myself clearly is non-negotiable). So I swung by a local GC on my way to that gig and picked up a little 4 channel mixer (Harbinger), big selling points were that it had 2 XLR ins and XLR main outs. Cost about $70. At load-in/setup I sent Helix XLR (mono) to the FOH snake - took the XLR monitor out from the snake into Ch 1 on my mixer I took the 1/4" out from Helix and ran it into Ch 2 on my mix. The Xvive transmitter is a dongle-sized dealie that plugs into the XLR out on my mixer. I then told Jesse to send me a general band mix without my guitar in it. So now beside me on stage I have the ability to control the relative band/me blend. Half a dozen or so shows in and it's been working perfectly, no noticeable latency issues or such. Kind of an "Aviom lite". Worth noting that I'm not a monitor snob - hell, when I was starting out stage monitors weren't even a thing. You had your Shure Vocalmaster columns out front and that was that - eventually PA systems got better and those columns became the monitors for a while. So I've always done just fine with what I hear from the stage itself - the whole in-ear thing is just icing on the cake. Don't need a perfect reference mix, just need a reference. Over these last few shows Jesse has tweaked my band mix to where it's quite good, but it was fine early on. But I have the final say as to how much of ME I'm getting at all times.
  11. You say that like it's a bad thing... I'm seeing some possible upside, there.
  12. Stylistically not in my wheelhouse - but that sounded great. Tight, crisp and punchy, very articulate. Low cuts were probably a good idea, I could envision the mix getting pretty mushy without them (though I'm sure the engineer applied some sonic surgery as needed). And the vid itself was fun - nice use of the old colorized stock. All in all, very well done! Keep going...
  13. FWIW shortly after acquiring my 69 I had an actual Strat neck put on - I believe my luthier said it was from a John Meyer (?) model. Night and day for me - like you I found the stock profile kinda chunky for my hands. Took it from being a guitar I played because of its flexibility on stage to one that I actually enjoyed playing in and of itself.
  14. I always thought it was an inside joke about the Dumble only being affordable to lawyers...?
  15. Buncha Fanboize!! (But then, so am I). Yeah - Helix pretty much wrapped it all up for me, other than some poly fx that I put in the loops everything else I might need is already in there. The only thing I've remotely considered picking up since Helix is maybe a Katana 50 just for the "one box grab-n-go" quickies. But for any real work Helix has me covered.
  16. Just go ahead on the next release and turn "1.82" or whatever into "2.82". Yeah, I get "conventions" and revision histories and all that - just do it. Heck, catching up on this board I've seen several instances in the last 10 minutes where the confusion has tripped up discussions. You guys have slowly been getting the update process more clear and touting how Core unifies the whole thing - bite the bullet, defy convention and just do it. Bring it all into synch. Thenkyouveddymuch.
  17. Voted! I mentioned this over on TGP - call it the "What's In A Name" update or sumtin. Since (I assume) Updater handles other product lines we can live with 1.7 or whatever it is now - but really ALL Helix family should be on the same rev.
  18. Dang - never thought of that. Good idea!
  19. Note, though, that if you kick the Helix the reverb won't "sproing" like the real thing. Firmware 3.0 perhaps?
  20. Oh, agreed - I never charged more for FR's, just cursed a lot while doing it. The tool I mentioned was a game changer, suddenly I could work the bridge while tuned to pitch. And for $20 - $25 bucks not exactly a major capital expense.
  21. Has the design changed in the last 15 years or so? When I was doing setups the FR was the biggest pain ever - you loosen that screw and the whole saddle piece slams forward. You can loosen the string, then the screw, move and tighten, then retension the string - repeat until correct. Royal time-sucker. Prior to posting this I googled and checked - sure enough Stew Mac is still (or once again) selling a special tool for just this purpose, braces the saddle assembly screw against the frame and lets you incrementally screw the saddle back and forth. Had one on my bench at the time - not my shop so it stayed behind when I left. Highly recommended when working with FR's. Again, I'm willing to stand corrected if the basic FR design has changed - but that quirk is why I've been a Kahler guy.
  22. Interesting - I've never had a problem getting feedback with my Helix/FRFR, in fact I've found it one of the most reliable rigs I've had for that. Nothing really special - I run a couple of Alto TS110s in front of me, floor monitor style. So my sound is firing right back up at me, I suppose that's a big part of it. Never need to be too loud. Most of my patches have a touch of compression before the amp, I'd assume that also helps get things rolling.
  23. This will depend on several variables - Mac or PC, what DAW are you running? Some systems balk at different devices for in/out, as do many DAWs. You'll just have to plug'em in and find out...
  24. Well, I have no hands-on with a Savage so a direct comparison isn't possible, but I can tell you this - any comparison with Helix to a POD series is pointless, they really have upped the game that much. It's a whole new critter, from tonal accuracy to organic feel it sounds and responds like any amp I've ever owned - and in 47 years of playing I've owned a lot. Best advice - buy from a place with a decent satisfaction return policy and find out for yourself. It's been (subtlely) acknowledged by L6 that many of the firmware updates have included under-the-hood tweaks of the engine, and at this point it's hard to find a bad sounding amp in the bunch. That's not saying they'd all be your cuppa tea, but compared to the initial release - where I'd be scrolling thru amps going "blech", "why bother", "who thought this sounded good?" - I now can pull up virtually any amp and find a use for it. Give'er a whirl - my money says you'll keep it...
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