Please ensure Javascript is enabled for purposes of website accessibility Jump to content


  • Posts

  • Joined

  • Last visited

  • Days Won


Posts posted by gunpointmetal

  1. On 11/20/2019 at 5:39 PM, SaschaFranck said:

    It seems to me that the Helix family things aren't exactly class compliant anyway. It has been said that the Helix would work as a class compliant device for older OSes without dedicated driver support, but that doesn't seem to be true as it simply doesn't even show up on my old Macbook running OSX 10.6.8 (which is working pretty fine with a  number of other class compliant devices).

    That's a 9 year old update to an 11 year old OS, I wouldn't expect much new hardware to just work without some help, class-compliant or not. After working on a lot of 2009-2012 MacBooks, I'm impressed your USB ports still work at all.

  2. 5 minutes ago, PierM said:


    If metering happen only at output levels, not at each block level, then it’s gonna be pretty much useless.


    Still, nice to see they are taking care of the aspect.

    I kinda see this as a test run with the metering, but input and output would be the most crucial part for leveling patches and making sure you're not clipping any hardware. Internally, it still reacts like pedals for the most part. Lots of the stuff you'd do in a normal guitar chain would definitely NOT be maintaining unity gain throughout the signal chain.

    • Like 1
  3. 2 minutes ago, tenorkeith said:

    Looking forward to the update. I'm especially excited to hear the Revv Purple channel. I want to see if it gets close to the G3 pedal (which is also based on the purple channel).

    I am a little surprised, though. I thought the "missed connections" update from July was supposed to make these kinds of updates come more frequently. I love the idea of the level indicators, and would be thrilled if they would add a DSP meter.

    I agree with everything here. I definitely thought the "Helix Core" update was gonna give us a slightly more steady stream of amps/FX at least, between major updates. I hope that momentary snapshot feature makes it to POD Go. I'm gonna be salty about no momentary switches on that one for a minute. Hold to assign is nice, momentary controllers are nicer.

  4. The proof is in the completely average tones in the demo videos so far, lol. Everyone's got different ears, I don't hear anything to suggest this is worth the cost outside the ability to run four signal chains. Modelers are pretty much as real as real gets without having tubes and speaker cabs, from Mooer to Fractal. If NDSP wants to wow people, show what you can do with all that power besides stock rock tones with a little delay.

  5. 28 minutes ago, SaschaFranck said:


    Go ahead and post away!

    I 100% have better things to do when I'm not at work (which is the only place I'm in front of a computer with enough time to even visit these forums) than prove to strangers on the internet things I already know to be true. Literally any modeling device of the last 6-7 years could pull those tone with a comparable cab model/IR.

  6. That video really just sounds ok. I wanna see what kind of cool stuff you can do with four DSP cores, how the switching setup works, what a four amp rig sounds like, what it can do with an expression pedal connected. So far all the demos have been tones similar to what one can pull from a Firehawk FX with some IRs after it, minimal FX (and nothing unique or all that powerful considering what they're advertising for processing power), and the screen looks slow compared to even budget cell phones. Should have stuck with the crazy ad hype train and waited until there was more to the software to start showing it off at trade shows and doing audio demos.

  7. 3 minutes ago, cruisinon2 said:


    If "The Final Countdown"- style bombastic arena-rock were still a thing, "Cortex Thunder" would be a great band name...;)

    You could update it easily to a djent band name . . . "Nebula Cortex Thunder"...and now you're a prog-core band!

    • Haha 1
  8. 57 minutes ago, cruisinon2 said:

    I get that people like having options to choose from, but how many times can you keep stuffing the same sounds into a different box? Aesthetics aside, there doesn't seem to be anything new here.

    Besides the "smaller than LT, bigger than stomp" form factor so many people have been asking for, plus a built-in expression pedal, plus app editing, plus third-party IR loading outside the direct HX line....

    This is going to replace my FHFX as a backup as long as they made the signal chain freely configurable. I'm still mad that some smart guy made the comp block on the Firehawk permanently stuck behind the amp model, which makes no sense for live use.

  9. 19 hours ago, antonio1961 said:

    i was quite surprised that CEO Doug didn't seem to be at all familiar with term 'intelligent pitch shifter',  though tbf ,the effects side of things is not necessarily his forte..


    That video was really lame, it seems like most of the device only exists as a programmed VST-type thing on a computer at the moment. I wouldn't expect him to know much about FX outside amps, compression, and distortion, though, being a BASSIST and all.  There isn't even a real FX/Amp model list, and judging from the video those things are not even close to finished. I was a lot more excited about he possibilities when I was thought that the Archetype plugins were gonna be included. If this does well I see dual-pedal-sized "Cortex Artist" pedals loaded with the VST suites, so maybe smart in marketing, though.  I already have enough ITB guitar processing stuff, and buying a $100-$200 add-on for a $1600 pedal is a freaking joke. "Biomimetic" sounds about on par with L6's advertising campaign for Amplifi, lol.... "The Guitar amp Reinvented" or whatever the hell it was. 

  10. 4 hours ago, olivierlgp said:

    Line6 own a GREAT (and pro) wireless solution for guitar : Relay G10S  on 2.4GHz  /  2-3ms


    Only need to reverse transmitter/receiver system to get an excellent ultra low latency iem system !!!  :)


    ...Mono receiver would be enough for me.

    To get away with selling a mono IEM system they'd have to price it well below what the G10S sells for. Most people are going to want a stereo option, even if they never use. IMO wireless needs to move away from 2.4GHz anyways, as that band is loaded as it is. I can't even use my G30 system live anymore unless we're playing in a basement or something. Every venue I've tried to use it in the last year and half or so, as soon as there's more than 25-30 people in there I get interference like crazy between venue wi fi and all the cell phones.

  11. 5 minutes ago, silverhead said:

    I agree that the lack of cone/edge distance parameter is a drawback of the stock Line 6 cabs. Problem for me is that I am not as familiar with 'the cabs I like' as you obviously are, so I end up spending more than 20 mins going through volumes of IRs to discover the ones I like. I find myself overwhelmed by the IR selections available. For that reason, as well as cost, I tend to stick with the stock cabs, despite the afore-mentioned limitation.

    I've always been of the mindset that no matter what amp I'm playing through, there's really only three cabs I'd want. Marshall 1960 slant, Mesa OS, or a Vader 4x12. As long as I can find IR packs that make good use of one of those cabs, it's usually a pretty quick process. There definitely is the ability to get sucked into that rabbit hole, especially if you're chasing down album tones, or you want every song in a covers set to be nearly identical to the original recording, or you're not familiar with the gear being used in the IR. It's probably easier for me because I almost exclusively play original music, in two closely-tied styles. I tend to treat my IRs/cabs like a fixed piece of the chain, so when I find something I like I will build my tones to get what I want out of the cab, instead of find a cab/mic combo to get me the sound I'm after. For my use, I find IRs to be much quicker, and much better sounding, but mostly because of the lack of cone/edge distance parameter (and its harder to get a mix of them into one block to save on routing/DSP so I can stay on one preset all night).

    • Like 1
  12. 4 hours ago, surfsup1955 said:


    Agree.  If you can’t spin up a reasonably satisfying tone with the current Helix Cabs, I doubt any IR will save the day.   

    The cabs are "fine", but without a cone/edge distance parameter, the only way to get really satisfying tones for me is either mixing two cabs and messing with mics for 20 minutes, or just grabbing an ML Soundlabs IR of the cab or cabs I like and dropping it in, maybe setting the low cut, and bam, there it is.

  13. 17 minutes ago, DunedinDragon said:

    Although I also have to say I've never run into this kind of issue on stage because my process for getting ready for a gig would have revealed it and allowed me to correct it long before I ever went onto the live stage.

    I've seen too many other performers try to bring new gear/setups on stage without the full rehearsal workup and it almost always ends badly. From what I've experienced, even "pros" don't spend as much time trying to eliminate issues before they arise as myself (and now my bandmates, because I'm not dealing with their BS at sound check either). I don't even use a new patch live until I've run it at live volumes in rehearsal at least 3-4 times just to make sure all the switching is right, all the routing is right, etc. I feel like that's not a common approach though, and given the nonchalance of most musicians I've met, I can almost guarantee it, lol.

  14. A 1x12 FRFR speaker (or 1x12 speaker in general) will most likely never provide you with the "balls" your 2x12 and tube amp provided you. The truth is that if you want the sound of a tube power amp on a cab behind you, there's only one way to get it. Now, if you want the sound of a cranked tube amp properly mic'ed through a TOL cab monitored from another room, that's exactly what FRFR and full amp/cab modeling can give you. If you need more "thump" to enjoy playing the only way to do it is with a real cab, or more speakers (or louder speakers). 

  15. I hear the same kinds of things from a buddy of mine that is a professional FOH/monitor engineer. He has to work jobs with all kinds of different equipment from TOL Midas and DigiCo digital boards all the way down to old Mackie analog desks with outboard gear for FX. He's mentioned many times how some of the guys that tour with small to mid level bands will often be exasperated and dumbfounded  and constantly bitching when they have to use anything other than a digital board with a full-size display, compressors and EQs with visual feedback on every channel, etc... and it's funny to him because it's not like live audio only got good in the last 5-10 years where nice digital stuff was available to everyone. It's one thing to complain when something in front of your doesn't work, its an entirely other thing to complain about not being able to use something that ISN'T THERE and then blaming a thing that doesn't exist for the issues you're having.

    • Upvote 2
  16. 5 minutes ago, codamedia said:


    All this time we keep telling new users how a Helix can do so much more than a standard pedalboard and amp can... we tell them they have to think more like an engineer, not just a guitar player - there is so much to learn and it's so wonderful once you understand that.


    Then deprive them of one of the very features engineers depend on! Worse, it is defended by suggesting the Helix is just a pedalboard and amp. 


    I have one question for those that don't understand the meter desire.... Will a meter HURT YOU?

    if not..  why argue with those that want one... including the 2500+ that upvoted it on ideascale.... apparently to deaf ears! 



    While there are definitely a few people here saying they shouldn't have meters, I think most people are saying that, since they're not available and people are still using the Helix to great effect, they're not necessary and there's no point in complaining about the lack of them or using that a justification for your displeasure with the tones you're getting. The discussion I thought was going was that adding meters won't make your tones better, they'll just make them metered. And I'll say again, I would use them if they were there, but there's nothing missing without them.

    • Like 2
    • Thanks 1
    • Upvote 1
  17. 14 minutes ago, Simon268 said:

    I still didn't found an answer to the question of this thread: '

    Why no level meters anywhere?



    The closest to an answer was 'I have a way of getting around without' (what is more of an answer to the question 'Why did you personally work with a tool that has no meters?' ;-) ).


    I assume that nobody knows why there are no level meters.





    It was noted somewhere in here that a product designer thought that people may be reliant on them, which may cause issues for users (and customer service). It was also noted that, while useful in certain context, they are more or less unnecessary and that there is maybe one (studio comp) piece of modeled gear that would even incorporate them in real life. I'd love to see some meters on the inputs, output, and compressors, but they're far from necessary.

  18. 15 minutes ago, codamedia said:


    I only play at gig volume :) Not exactly true, but yes - the tones I am talking about are at gig volume. 


    Don't underestimate the power of a "subtle" compression... you do not have to hear a compressor for it to be doing it's thing. When it's subtle you don't really hear it, you feel it... and that is what I am after. The feel will include a little "smoothing" and "sustain" without actually hearing any compression.


    It should be worth noting... this works with the gain levels I use, which are not that high. If higher gain drives are used I suspect it could become very noisy and a bit of a mess. At that point, the only comp I would ever use is the Studio Comp at the end of the chain, never a stomp comp. 

    I guess it's just the byproduct of the music I'm playing. Most stuff is too fast to make subtle sustain compression noticeable, and my gain tones are usually of the metallic variety, where compression is almost unnecessary anyways. 

    • Like 1
  • Create New...