MartinDorr

I could be all wrong (I am not using the DI signal), but I thought there is no impact from any models on this path. It’s just the input signal as Helix sees it, and thus only the input pad has an effect. Given that, I would be suspect of a USB driver or a DAW input signal attenuation function

That's a very informative site to know about! Thanks

In a non-live-performance use case, it helps me to play the first measure(s) twice and hit the start button on the second round to avoid unintended loud or soft entrance volume or other startup anomalies. Also agree on what was said above about continue playing while hitting the stop button. The rest is just getting used to the timing / foot action delay anticipation by practicing. When you stop thinking about how to get it right, you’ve mastered the technique ;-)

The promised channels missing from the amp models released in 2.5 + ? Cali Texas Ch2, based on* the drive channel of the MESA/Boogie® Lonestar [Ch1 coming later this spring] Placater Dirty, based on* the BE/HBE channel of the Friedman BE-100 [Clean channel coming later this spring] DI called it a minor update in an interview ...

History says that a release of a new version comes about every 4 months (not counting quick releases for bugs that slipped in). That would put 2.6 roughly into late May / early June, followed by 2.7 in Sept/Oct and a 2.8 for NAMM But Line 6 made a point last year to delay releasing an update when they ran into unforeseen problems (wise choice) - so maybe we will just get a second FW release (2.6) this year ...

I understand what you are trying to achieve, but an up to date ;) , locked post with the latest tool versions in the subject line would serve the same purpose w/o putting any limits on the version numbering scheme Line 6 chooses. Personally, I find outdated info in locked post and how many we now have more annoying and I think confusing for anyone new to these forums. But I just heard back that the 'latest editor info' was updated.

I don’t see any value to that approach as long as we know what the versions are and what’s the latest version and what changed between versions. Requiring that sub product elements have the same version number just limits when a sub product element can be updated or makes version updates for elements that did not change meaningless.

Thanks for responses. No surprise in the delay parameter settings. Will check out the Vintage Digital delay to see whether it changes things to the better. Also thought that my choice of reverb (Plate) may not be the best choice to get a better sounding slap back. What do you guys use as reverb settings with your tones using slap back delay?

Looking for recommendations on model and settings for a slapback delay block. Tried a few and are doing OK, but there might be a few good options I may have missed ... Thanks

That they hired more experts for their development team is good news no matter what they use them for. At a minimum it probably means L6 is making good money with what they put out - and that there will be more to come ...

Looking for feedback/advice from anyone having hooked up an iPhone or iPd running one of the many SW loopers via USB and controlling the looper functions with Helix foot switches sending MIDI. Should work in principle, but don’t want to spend a lot of time programming this in some way and find out later that there is a much better one. Ideal would be something that kind of works like the built-in looper, except the switches would control the extended features of an external looper. Also thought of getting a 4-button Bluetooth MIDI foot controller as an alternative, but if Helix can do it conveniently, why spend extra money for something that’s not very sturdy, only runs on batteries, and is another item that can break or get lost?

On average it's +0.1 every 4 months - how many 0.1's they do seems to be variable lately ;-) But let's be honest - the outlook that Line 6 keeps working on a fairly constant flow of upgrades (free or possibly not so in the future) is exciting. Looks like I will be happy for a good long time ...

For the curious check out http://mysite.mweb.co.za/residents/cyb00746/audiodocs/Digital_EQ.htm If we assume the filter transforms happen in a floating point or high resolution fixed point domain it probably does not matter much in what sequence they are executed and the outcome is practically the same - just guessing ;-)

Regarding amp model improvements, I have only seen a few minor corrections when a model bug was found in the HD series of FW updates. If Line 6 really believed an amp model should be improved (e.g., they conclude the amp they modeled was not a typical or good one) they seem to release a new model with a new name and leave the older one in place to protect their user’s time investment and possible preferences. Seems like an excellent and user friendly approach to me. I think I remember at least one case were an HD model was fixed and the FW update either auto-corrected user tones using the model or described how to change parameters so that the tone was not significantly changed by the fix. Obviously there are limits and it’s always a trade-off between advantages to provide a fix and disadvantages of making some users change a tone they probably invested significant time on (and may want to keep).

Amazing update, and I seriously hope you will make tons of $$$ with this ingenious product line. It’ll be good for all of us ...

I believe to remember that the DT 'voicing' switch really just selects 1 of 4 program slots on the DT, i.e., If you reprogram the DT to use a different voicing on slot 1 you really cannot visible see what voicing is loaded. You should be able to hear it though ;-)

You may find the following interesting to get reasonably close to the same tone at different volume levels by adding / removing an EQ block (or turning global EQ on/off) ... https://www.youtube.com/watch?v=VTNhCRjKBec https://www.youtube.com/watch?v=6c2723NVwNs

Use an empty tone/patch and record dry out and your guitar pass through signal. They should have same levels and sound the same. If not, the dry out could not be directly used to drive your tone like your guitar. Take a look at your peak and RMS levels in the DAW and decide what target output levels you need for your use case. For further processing in the DAW you may want to consider not exceeding -12 or -9 dBFS for peaks and ~10dB less for RMS. Your total gain of your model chain should produce the difference between your input (dry) levels and your target output levels. Personally, I try to avoid big swings around the target levels from block to block, but if it it sounds good, it is good. Shouldn't be too hard to figure out what all your model blocks add or remove level wise if you have a DAW and are used to or get into recording. Good luck and enjoy the ride :)

I got best results from loudness metering, especially if you have a mix of clean and high gain sounds and want to factor in the effect of not constantly generating sound for different songs (loop a mix of what you play to meter). I had a free loudness meter tool running on the PC in the past, but can't remember the name. There is loudness metering in DAW SW like Logic and in 3rd party mixing or mastering plugin tool sets from companies like Izotope. Use the LU-I results for loudness based balancing. If you have no loudness metering use RMS metering. Peak metering is the least effective, but might help if you balance only one kind of tone, e.g., cleans.

If you use somebody else’s tone play around with your guitar’s volume and tone controls unless you have his guitar. Your guitar’s signal level acts like an amp drive knob. Thus both your signal levels and harmonic content may put you quite off-target if your guitar is different. And another obvious one, but worth checking, is your global EQ. I fell several times for having played around with it and not returning the controls to neutral.

I suspect we either get a release or a teaser with an approx date when NAMM comes around (Jan 25/28).

The one about the latest editor seems outdated on top ...

Could not have put it better ...

If you are boosting 20 or more dBs before you get into Helix you are probably close to clipping peaks within Helix. If you do not have a tone neutral gain control on the pedal (or suspect that it is not tone neutral), just add a gain stage and lower gain to counteract your boost pedal to bring the signal to a 'normal' range and keep the OD produced change in tone. You can get some of this addressed with a low Channel Volume setting in the Amp model, but you really do not want to run this dial below 2.6 or even 1.3 (-24/36dB) where every 0.1 change makes a crude difference.