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MonkeyXT

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Everything posted by MonkeyXT

  1. (So happy that quoting started working for me on the forum...) I'm pretty sure it's the same thing. For me, what it feels like is that I'm getting the result on the 'back half' of the switching - almost like it's on the release rather than the press. But, in reality, it's that ramping. And it might be a more pronounced dynamic dependent upon the classification of the block. Overdrives seem to /really/ ramp in a pronounced way. Modulations seemed... ramped, but more subtle. The difference could be just in the nature of the sonic differences. I've got quite a few patches which feature functions stacked onto stomp switches. To me, those were more prone to potential 'popping' - and I'd tested a theory (successfully, I believe) which I'd meant to post about; I taught myself to stack the functions in an order which would be the least likely to cause any audible artifacts like popping. Starting by deactivating any extra gain, then swapping turning downstream cabs on, then upstream ones off, then upstream amp off, downstream on, extra gain on... that type of thing. It was quite successful. Then, when converting those same functions to being Snapshots, I actually went about it in a similar fashion, /just/ in case it made a subtle difference in how the Snapshots came in audibly. The result; my Snapshot versions of those changes were even MORE transparent/quiet/pop-free. I was extremely impressed. So, I guess that's why I feel like the stomp 'ramping' is the answer to a question I wouldn't have asked, and now am having my ears and 'feel' tugged on by the end result of the changes. I truly hope it'll be reverted to the previous behaviour - at that point, I'd happily try to put together a posting to suggest how to stack changes to make them less 'pop' prone, as it seemed to work for me.
  2. It occurs that you might need to do the process of noting the Vintage DDL settings, deleting, and re-adding - and then take note and dial up the 'Headroom' parameter... I believe that won't show up on older patches until it's deleted and re-added... This actually pre-dates this firmware update mind you.
  3. I'll now +1 this observation - it's quite noticeable... and then confusingly, I think you'll find that if you use a Snapshot setting to change the state of those same blocks, it's actually faster to respond. This is a big deal as I see it; as stated above, I've become accustomed to the Stomps reacting instantly. This sadly could inform a decision for me to roll back.
  4. I believe that's one which you need to take note of your settings, delete the block, and re-add it - and then look at the 'Headroom' parameter - set that higher to clean it up. Look first; that parameter might not even show until you delete and re-add... it was an added parameter a FW or two back, and this is the symptom. Fixing this way worked for me.
  5. I'll also go on record as saying that, for only the second time in my Helix experience, I've had freezups - in this case, it's been twice, and in short succession. That's alarming. I'm testing to see if it's related to a particular patch which may have someone become corrupted (? - puzzling; it's a nearly empty one which was simply an amp test).
  6. Oh that's not good... as this is how I use Helix most of the time - with one sort of 'super patch' combined with some Snapshot 'broad strokes' settings... For me, that's going to be a solution to a non-existent problem - not that I doubt others have run into a possible popping issue and such; more so that I hadn't run into it. In fact, when I reinvented my super-patch as a Snapshot setup, it actually REDUCED popping of some of the functions I was previously doing with 8-job function switch assignments. (Oh, this is the very first time that quoting on this forum has worked for me....)
  7. The PODhd bean is quite heavy in fact; you won't have that wandering around your desk unintentionally. If you can find one of the angle mounting brackets, I'd go with that. Put some rubber or cork on the bottom for anti-slip, and away you go. In fact, I always kept my beans mounted on their angle brackets (which I did some modifications to in order to actually strap the PODs down onto firm pins rather than the rubber spikes) and mounted atop a microphone stand which lived directly beside my desk. My favorite form factor in fact... getting used to that is why I went with Helix Rack instead of floor... to have the brain and controller placed apart.
  8. (Because 'Helix' in this context is a proper name, you would use the plural rules as such - so in this case, it should be Helixes. If we weren't talking a proper name, then it would be 'helices.')
  9. I may have heard this type of thing as well; need to spend some more time to see and will report back.
  10. That absolutely has been my automatic assumption as well; that inactive blocks are invisible. ... but then, think about this; the first item in the sound chain will inform the input impedance value when it's on auto; I changed the order of my first two blocks, even though my original first block was inactive by default. When I swapped them, I could hear the difference, and I went to the input z and dialed it until what it read matched what I heard... and same test in original block order. Different values - even when the first active block being reached was the same in both cases. I guess that's suggesting a path of investigation that could be considered closer to concrete... Oddly I found that the negative effect on the sound was at its worst when I was using 2 IRs in parallel on the downstream Amp2 position. Strange. Maddening, also, as I had been trying to integrate Litigator plus IRs ... and using the same Litigator amp block feeding two onboard cabs was less of an issue, but still didn't compare well against my earlier version of the patch (which, if I recall, uses a well-tamed ENGL at Amp2 position). I'm continuing to investigate. (Meantime, with v2.20, I'm inclined to say that something has changed in the onboard cab handling; I was adjusting a cab block on a test patch, and found that it honed in and seemed to sound as good as any IR I've tried, by adjusting it in familiar ways... I arrived at what seemed to be a far better result while doing adjustments which were fairly typical for my part, that's what I'm getting at. As though it's improved in some fundamental way; the mic distance parameter in particular seemed to react more realistically to my ear.)
  11. A quick note; installed FW 2.20 later last evening - seemed *knock on wood* to go smoothly. The only issues are the ones which have chased me along from first thing; Function switch stomps and their flip-flopped LED status (lit when should be off) which I have to manually tap/touch to have it in the state I prefer, then re-save. I've got quite a few of those... My question is aimed at those in the deep-known; is there any reason to believe that the effects etc. blocks aren't 'true bypass' within Helix's sound paths? Why I'm asking: My 'catch-all' preset which I've been using since near to the beginning of my Helix experience last year is constructed wherein Path 1a is serial-fed into Path 2a. Meantime, both paths 1 and two have splits (to 1b and 2b respectively) to run some parallel blocks. Typical stuff. Path 1 has my main 'pre-amplifier' bits, plus amp1 with cabs 1a and 1b (for the sake of a naming them generically). Then downstream, at the head of Path 2a I have amp2 with cabs 2a and 2b. Path 2 continues on split to have parallel delay and reverb... All is good; I've used that arrangement since before Snapshots, so it's all tied to function switches (TOUGH to fit some of that to 8 functions for 1 purpose...) - I'd been meaning to create a Snapshot version to see if I preferred that... finally did so before last weekend's sit-in gig. Going back to when we were graced with the Litigator amp, I decided I'd make another duplicate of this patch, and simply swap out amp-and-cabs 2 to utilize the Litigator for that amp. Plus I'd dabbled in IR land, and found a couple which I liked coupled with the Litigator. Sounded great in there; got along well with the rest of the signal chain. Then I went to the primary sound - a very much clean sound - and checked it all out from head to toe again. The clean sound was being affected negatively, though all the downstream blocks were off. This was a direct substitution of just the amp and the two cabinets - tested with inbluilt cabs, and IRs. In fact, the issue seemed worse with the IRs in place, even though they're off. And, as was mentioned somewhere else by another user; changing something like the microphones of an inactive cab block gives audible artifacts as they 'flick' from one to another. Odd for something that's off/inactive. I tried re-building the patch from scratch. Same result. I tried other amps and cabs some had less/no effect on the bypassing sound; others seemed to suck some critical aspect of the sound away. And again, no gain staging issues, etc.... and in case anyone's wondering; interrupting a signal path like this with a second amp in-line - and mono in nature - leaves the stereo aspect fully intact while those mono block(s) are inactive. It only collapses to mono when those mono blocks are engaged. So, anyone else run into anything like this?
  12. Absolutely - into Crybaby, then Helix; good signal flow. And also correct; those two 'general purpose' Mission expression pedals you linked won't work as they are with Helix. The two models which work with Helix are: EP1-L6 - should work any place that Line 6's own EX1 expression pedal works SP1-L6H - same as above, PLUS this model includes the toe switch for use with Helix Rack. This is the one you included above as a Reverb link.
  13. ... and sorry; I somehow missed the fact that zooey was specifically asking about the Strat pickups, and I went on to discuss the Telecaster versions. Sorry about that. Perhaps there's some relative commentary in there... although the pickups are quite different between the two models of guitar.
  14. I have tested out the N4s - they were surprisingly good in fact. I have a set of N3s and tried out many AmDlx Teles with them in there... but the N4s really sounded much better. ... with that said, the V-Mods... I was really caught off guard with how great those sounded to me; especially the bridge. Definitely try out both; I have the same stipulation as you - I go noiseless ultimately no matter what. (In fact, in my Teles I rely mainly on Barden Modern-T sets, plus DiMarzio Area Hot T bridge/Area T neck set with an area Strat middle on my Dlx Nashville).
  15. You do understand that the Dunlop wah has to be patched into your signal path, NOT into an expression pedal jack, right? You'll have to either put it into a loop, or run from your guitar to the wah, then into Helix... but it's not an expression controller.
  16. Oh yes indeed - for me it all lives and breathes based on that fact. I've always gone about choosing which amps to use contextually based on how well they respond to varying pickup settings, volume roll-back, etc. All of those dynamics. That's true going back through the various PODs I've also used. Some amps are notably more responsive to these changes, but it also depends on what you feed it all at the front end in particular of your audio path. Paul's Strat playing on that demo is very sublime in fact; he's a great, well-rounded musician. I'd say that Paul and (now no longer with Line 6) Sean Halley deliver the most comprehensive demos of the devices they're showcasing. Both of their various demos for Helix spoke a lot to me about getting onboard - at that time, it wasn't a question of 'if,' but 'when.' =]
  17. Really liking the Paul H. demo linked in the 'best answer' post - convincing demo. If I wasn't onboard already, I'd jump in from that one... Great showcase of dynamics - and one heck of a player. Nicely referenced demo. I also enjoyed Paul's visit with Chappers and The Captain back a ways - I believe if you searched for 'first demo of a production model Helix' you'd find it.
  18. The Crybaby is its own thing, so you shouldn't have any issues there. It's just patched into your signal path wherever you choose, and away you go. I just looked it up too; yes, it's got an auto-engage function - very nice. The Mission Engineering Aero that you linked won't work as is, though, correct. It's a latching switch (I believe they have a momentary version of that, which means the switch part would work - the SP25M has a momentary switch; I just looked that up). It would need a re-wire 'fix' to make it compatible with Line 6 gear like Helix. The 25k aspect of the potentiometer value(s) would work fine. I'm not sure why Thomann believes it to be directly workable; it's not. It could be made to work; however, it's an expensive pedal, and the modification would certainly void any warranty. I'd suggest sticking with the SP1-L6H Helix-specific version, if you're going to stick with the Mission pedals. That, or take your chances with the warranty for the Aero Momentary version I mentioned above, as well as finding someone who can do the wiring modification.
  19. Depending on how transparent the PA system is and should be, you should be in good shape in general - probably within range of where the Global EQ would 'fix' whatever you need to neutralize from the PA differences. Then the EQ would becoming your PA and Room adjustment factor. Your channel(s) of the PA would have some simple EQ that could also be utilized - it shouldn't take much, from my experience anyway. I go straight into my computer for practice and such, and can record as desired. It's also where I do my patch tweaking. At times when at small-stage volume I've had to trim the highs just a bit within the preset, and then a tiny tick off of the treble on the PA channel strip, and my direct sounds into the performance PA are quite consistent with that I derive from my computer speaker system - which is quite broad range. In short, it all should translate well for you.
  20. I've just been waiting for the EXP1 position jumping issue to be sorted out, and once that happens, then auto-engage will become standard issue in my patches =]
  21. It won't work directly with Helix without modifying the pedal - there are instructions around on the web on what to do and how to go about it. But that toe switch on that pedal is latching - which means, it mechanically 'clicks' and alternates between leaving the contacts closed/connected, and then open/disconnected. I'm quite sure they offer a version with the different momentary switch types... or somehow accommodate these variables. Helix requires a momentary switch. Momentary only changes states for as long as the switch is being pressed; Normally Open (N/O, NO) - the switch's contacts are open/disconnected until pressed, temporarily connecting/closing the terminals of the switch. Normally Closed (N/C, NC) - the switch's contacts are closed/connected until pressed, temporarily disconnecting/opening the terminals of the switch. I'm pretty sure I remember correctly, that Helix works with a N/O (normally open) toe switch. Of course this is only relevant if you're using Helix Rack, and thereby planning to make use of the toe-switch function.
  22. It's a TRS arrangement; Line 6 uses a TS arrangement (which would mean modifying the pedal). Also, the switch in that pedal is a latching one; Helix requires a momentary switch (normally-open I believe, but I'd have to check that). I have been hoping they would do a directly compatible Aero expression pedal; the regular ones are excellent, but weigh a LOT, and they have a relatively short sweep length. I use two of the non-Aero ones - both the L6 regular and the L6-Helix toe-switch versions... they're quite excellent, rather pricey, and VERY heavy in the carry bag... I've actually considered plugging in one of my good old plastic L6 EXP1 pedals in place of the non-toe-switch Mission one, just to lighten the load. ... but the Mission just feels so much more rugged...
  23. Stomps - 8 or 10, depending on which mode you decide upon using the Global settings menu. Bank - ... sorry, I'm not completely familiar with how this aspect works to date, but there are mode shifts which happen when pressing both - plus there's a mode switch which jumps back and forth from stomp mode to the mode you've configured from the global settings. Path 1A routed to 1B, path 2 will remain available - and that can be further split into 2A & 2B - you can run them all into one another (Super Serial - see factory presets) or other variations. It's very flexible. The number of block spaces available per path - 8 per 'line,' so 16 per path (incl. A&B) for a grand total of 32 blocks which can be populated (and of course, as you stated, this is dependent upon / affected by DSP usage). Mixer - doesn't show as a 'block' as the processing blocks do, but they are there at the split/merge points of the paths to allow manipulation of mix levels and panning. Hopefully this adds some clarity. Feel free to ask any other questions you might have; many extremely knowledgeable members here, not to mention the Line 6 staff and their Expert Users here.
  24. MonkeyXT

    Duel amps

    Doing a Snapshot setup for this would be ideal for you; each Snapshot would start off with the amp and effect blocks of your choosing on/off as required when you call up that Snapshot. Instantly turns everything on/off as required for you. This is the most direct solution to what you're asking, as far as maximizing flexibility and such goes.
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