gunpointmetal

21 minutes ago, Andy1175 said:

 

One of the best things about buying an AXE FX III, is no longer having to put up with the snotty attitude from some of the long-standing members, which is so prevalent on this forum.  Nothing at all wrong with the OP's enthusiasm, so stop trolling him.  

 

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And yet, you return specifically to antagonize the "snotty" members. Smooooooooth.

1 hour ago, brue58ski said:

So I'm not quite sure what kind of agenda you're pushing here. Other than whining about how long it's been since the last update.

He's just mad because he thought he bought a Line 6 Axe FX Cheap, and now that there aren't 99 firmware revisions to address minor updates (or add 10 versions of one amp as different "amps") every other weekend he feels ripped off by some imaginary measuring stick for firmware timeliness. Give someone an inch, and they're mad they didn't get a mile.  

13 hours ago, BAmartin said:

Well... I'm back... Yes... the OP... And I'm posting this just to let you all guys know that tomorrow Thursday 19th of December 2019... It's been six months since the last update...

Now diss, whine, insult and point fingers all you want... It doesn't change time and circumstances.

Bye, haters.

So? I'm sure there are some teenagers in a FB group that need a good trolling, maybe give that a try?

A lot the current gen of "metal" boosts don't actually add any drive, they're more like a wide band clean boost between 300Hz and 2kHz with high and low roll off.

High-pass in the cab block ~110Hz, instead of a distortion boost try the parametric EQ in front with a low cut up around 200Hz then turn the level up so its boosting the front of the amp a little bit.

I can get audible changes if I try to use snapshots to change an IR, or switching amp models that aren't leveled properly with each other.

26 minutes ago, vstrattomusic said:

Doesn't help that I just can't trust sound techs, a very common complaint from people I know who play in local bands is that the live sound techs do extremely weird things sometimes and the results sounds terrible, I wouldn't want that to happen to my band when playing live.

You playing through a real cab isn't gonna keep a crappy sound tech from making your band sound bad. Crappy engineers are crappy whether they're mic'ing a cab of taking a DI line with the sound of a mic'd cab, and a great guitar sound is usually less than 15% of what most people are listening for in what they consider a "good" live sound. 

54 minutes ago, cruisinon2 said:

 

 You're talking to a simpleton, an a$$hole, or both. ;)

There's definitely some of that. I also get the feeling of some general disappointment that there wasn't some magic pedal or piece of gear they could just throw in their rig because some people, especially old school metal guitarists, are intimidated by gear with menus, or that hooks up to a computer.  

I get this often. After we play another guitarist is asking about my gear, telling my my guitar sounded huge, then I tell them its a Line 6 Helix direct to FOH, and then they act like "Oh, it was alright I guess." All these metal dudes with their full stacks are so fragile, lol.

8 STRING VARIAX! 

hahahahaha

IRs include the sound of the microphone, preamp, etc. So even if you have the exact same speaker IRs, they're not gonna sound like your amp behind you on stage. They might very well sound like your amp mic'd up through the PA, though. 

25 minutes ago, DaPaLeWon said:

Ive been perfectly happy using them for music with my laptop and various smart phones. But again, I dont know anything about headphones and what makes them good or bad. Im happy listening to music through apple ear-buds, so I dont know what that says about me..

If they sound good for music you'll probably be fine. I didn't even like them for casual listening. Maybe I have weird-shaped ears or something, because I can't keep Apple earbuds in my ears if I turn my head, talk, smile, squint....hate those things too.

I can't say whether it will work with the Stomp. I've used "commercial" impedance headphones with my Helix just fine, just got a lot more volume a lot lower on the dial. That being said, I HATED the 215s when I had them. I was using them for IEM buds and they were shrill, could never get the seal right even with aftermarket pads, and (luckily, for me anyways) the right ear stopped working after about 2 months. Honestly, my $10 JVC "Sport" earbuds were more comfortable and sounded better. 

But, like anything else in gear, everyone has different expectations/needs so you'll never know until you try. 

I think there is often a disconnect with guitarists especially as to what is a good tone to play with by yourself and what is a good tone in a band context. A great example is the "groove metal" guitar tone. Alone, that scooped, slightly woofy/flabby tone sounds HUGE because its more or less a "loudness" setting for distorted guitar, but its useless in a band context because the bass takes away all the bottom end and the cymbals eat up the high frequency, leaving a shell of whats left of the midrange. It works the same way for clean/edge of breakup tones, too. A "thick, full, articulate" solo'd guitar tone will be sculpted down to its core midrange by any decent FOH engineer, unless its a very sparse mix, with the rest of the band playing. Everyone should be working to compliment or reinforce each other's sounds in a band context. There's not much useful in a guitar tone below 100Hz in a rock context, just like there's not much useful in the upper midrange of a bass tone when the band is in, but too often both guys will be fighting for both spaces because "muh toanz" or whatever. If it sounds good in the context of the music being performed, its good!

Not familiar with Sonar, but most DAWs will allow you to set a track to be either mono or stereo. Set it stereo, select inputs 1/2 and go to town!

I mean there's no reason to upgrade stuff at this point unless there is a major advancement in DSP or modeling, or the hardware doesn't work. The Helix will sound as good in 10 years as it does today as long as it's working. Of course there will be a "next thing", but basing your purchase decision on maybes or probablys is gonna put in you forever in a cycle of "Hmm, maybe something new is coming". If this kind of option paralysis is an issue for you, maybe something as extensive as a modeler isn't the right device for someone anyways.

Well that was a huge wall of half-truths and "I kinda know what I'm talking abouts".

This is pretty much why I ended up switching from the backpack to a pedalboard setup. 

Oh, I see. Yeah, my idea for global blocks was basically blocks that are stored as a preset for that effect, but I see where you're coming from. I've never been in a "Hey lets play four hours of covers tomorrow" situation (nor will I ever be, lol), but I do use multiple patches for both of my bands sets, and I've been able to mitigate all level issues by spending ten minutes when everyone is packing up at practice to level my patches at gig volume if I notice something wonky while we're rehearsing (or because the drummer looks at my like a crapped his pants when I change sounds). I think the GT1000 has block assignments like that.

1 hour ago, SaschaFranck said:

All I want is global blocks. That'd absolutely skyrocket my tonal options for my use cases. Right now, I'm limited to one patch per gig - which is still awsome as it does in fact work, but I'd love some more flexibility.

I think global blocks would be AWESOME. I'd love to have my pre-gain EQ that I can drop it at the beginning of every chain. But how does not having that available limit you to one patch per gig? You can just copy/paste the same patch into a bunch of different places and then change out whatever you want to be different? Unless I'm not understanding "global blocks"?

I haven't used it with an external IR loader pedal, but DI into the DAW with IRs and it works well. For me personally, I prefer to use one cab (stock or IR, I use a Helix for my live/recording rig and the Firehawk FX is my backup/home jam rig) for my live tones anyways. My thought process is that if I had a real cab on stage, even if I had a rack full of preamps, I'm not gonna be switching cabs out to use them live, so I dial in my cleans and means to sound good on the same cab IR. For recording, it doesn't really matter how you load the IR, or if you use a different one for every amp model, but for live stuff I stick with the "Keep it Simple, Stupid" philosophy. 

Linux is cool if you're willing to do a lot of the "nerd work" yourself. As far as Plug and Play, some class compliant stuff will work just fine, but most stuff with "pro" hardware is gonna require its own drivers for best function. Unless you wanna do your own patching/porting in Linux, it'd probably be easier to find an interface that is known-working with linux and do the analog out of the Helix into that.

Anything that isn't repairing the obviously malfunctioning equipment is a (poor) bandaid to the situation. If they are truly true-bypass pedals changing the input impedance will change how the first thing in the stomp "sees" your guitar signal at the input. Whether or not you can compensate for it with EQ/gain/etc is up to your ear, but it seems like with the blocks you'd use to adjust for your crappy pedals, you could just find something close in the stomp and not have to deal with the obviously broken/malfunctioning pedals.

You'll just have to copy the preset to another location, engage the delay, then turn it off before you start the song, so when you activate, switch patches, and then switch back its ON.

All good advice so far. Another thing to keep in mind is that if you build a patch at home volume, you're going to have to edit for loud volume, again if you're switching from FRFR to a real cab, etc.